Archive for the ‘Lessons & Readings-6696’ Category

MFFT & GEFT Results

Sunday, March 31st, 2024
For this activity please do the Following
dothis

The goal of this activity is for you to score yourself on the GEFT using the keys provided below and place yourself in one of the grids below based on the results sent to you for the MFFT-20. For the Matching Familiar Figures Test, we scored it because your final result depends on what the others did in your class.

In summary, this activity has two parts:

  1. Score yourself on the GEFT and review your results from the MFFT-20.
  2. Then based on the scores and readings, evaluate your scores to decide which of the ecosystems we have discussed this term best applies / would be most useful to you as a student for a given learning situation.

The idea is for you to see how cognitive tempo/style can be a determinant with regards to the best media to use in a class or a course you are asked to design. This exercise correlates to the ‘A’ in the ADDIE model (analyze the learner) in instructional design. I submit that these kinds of tests are more accurate measurements than self-scored instruments because, as we have found out, people do not always learn best from their preferred learning styles. The joke I sometimes use is that I am a visually impaired visual learner. I am only half kidding… sometimes folks have a preferred style but are not very good at using it to learn… we will discuss this in our Synchronous meeting.

Post your reflection about your thoughts on the MFFT-20 and GEFT in the drop box on Canvas.

Background Information about the Tests

MFFT-20

The version of the Multiple Familiar Figures Test (MFFT-20) that we are using was originally developed by Cairns and Cammock back in 1984 at the University of Northern Ireland. The sample was middle school students (ages 12-14). This seems to be the most commonly used samples in the previous studies. It is thought that as a person ages, his or her tempo will gravitate towards being more reflective. The instrument Cairns and Cammock used was the original MFFT developed by Jerome Kagan in the 1960s. These instruments were subsequently evaluated for validity and reliability and adapted over time by several individuals (Arizmendi, Paulsen, & Domino, 1981; Block et al., 1974; Watkins, Lee, & Erlich, 1978) to determine whether they actually measured impulsive-reflective tendencies in individuals.

The original format of the MFFT-20 was a paper version in which participants made their choices by selecting the matching figure from a set of six distracters by pointing. The investigator was responsible for manually keeping track of the number of choices made by the participant and utilized an assistant who used a stopwatch to time their latency/delay in making their first response.

For the this automated version I scanned into a computer the paper copies of the figures and alternative choices and imported them into a computer program that was the precursor to Flash (Macromedia Director). The program presents the pictures and their alternatives on a single screen and allows the participant to click on their selection to indicate their response. The computer program automatically keeps track of the total number of choices made before the correct one is selected and the amount of time it takes to make the first pick for each of the item sets.

Recall that you were presented with 20 sample pictures of familiar items and then were asked to identify which one of six alternatives was identical to the sample. If you made an incorrect choice you were subsequently asked by the computer to retry until you made a correct response.

The dividing line between impulsive and reflective quadrants was the median score for latency for this administration of the test (i.e., the average amount of time you delayed until each of you all made your first selections for all 20 pictures) and the median number of errors (also averaged for each participant) The medians were place along horizontal and vertical axes. Based on how each of you fared as compared to the median split lines, you were placed into one of four quadrants made up by the two intersecting axes.

If it was determined that you made relatively quick but inaccurate decisions you were place in the quadrant labeled ‘impulsive’ (Q1). If you were more deliberate (i.e., you showed an increased latency until your first response) and made fewer errors than the calculated median you were determined to be ‘reflective’ (Q2). Those of you who were found to be fast-accurate (i.e., faster and more accurate than the calculated medians) or slow-inaccurate were placed in two other cells (Q3 and Q4 respectively). The ones historically utilized in the administrations of the test are the former(i.e., the impulsive and reflective) quadrants. It is not that the other quadrants do not have matter but comparisons in the research only dealt with the impact of those placed in the first two categories.

Impulsive:
Q-1
Slow –Inaccurate:
Q-2
Fast-Accurate:
Q-3
Reflective:
Q-4

Notes

    • We will look at our results as well and those from previous administrations of the test during our next Synchronous class Session. In the meantime you will be sent your individual scores via Canvas emails, not that it will mean that much until we meet. Here is a sampling of the scoring that will be presented. The studies from 2002 onward are mine.

  • Second, the break points for each quadrant are different for each administration of the test. We will revel those two levels (for speed and accuracy) during our meeting.

According to the literature, (Berry, 1991; Green, 1985) the MFFT (and its various derivations) has been one of the most commonly used and more accurate means to test for cognitive style and to show how individuals perceive and process visual patterns. The MFFT-20 has been found to be the most valid and reliable measurement over time.

But the MFFT has also been the subject to several attempts to refute it as a valid diagnostic test (Salkind & Wright, 1977; Watkins et al., 1978). Ikegulu and Ikegulu (1999) suggested that the notion of a generalized visual processing rate may be questionable, based on the fact that there have been very few repeated measurement studies to test the generalizability of the dimension. That is why I have been looking at this data over the past 16 years. My research further explains what has happened to individuals to coincide with the digital age.

Sidebar
The concern was that, once folks figured out the correct responses, repeating the test would alter the results. That is why we asked you only to take the test once. But due to computerization, nothing would prevent a researcher from simply randomizing the placement of the matching figures on the sheets and/or changing the order of the questions. Following up on this test has great potential for as dissertation project for someone.

Some research indicates that the ‘impulsive-reflective’ designation might be better depicted on a continuous plane (i.e., from low to high), rather than a bi-polar scale (Salkind & Wright). On the other hand, Salkind and Wright when on to state that in subsequent studies they found continuous scaling to appear to contradict the basic premise of a cognitive style (that is , by its very nature, is bi-polar).

This apparent anomaly appears to some to create a potential lack of power for the impulsive-reflective scale to be useful in the first place. Ault, Mitchell, and Hartmann, (1967) contributed a loss of power to Kagan’s over-reliance on latency rather than number of errors to determine reflective versus impulsivity. The findings of Ault et al seem to contradict Kagan’s original hypothesis… categorizing individuals must be based on the interaction between speed AND error-rate (Kagan, 1965).

In spite of these and other attempts to dispute it, Kagan’s MFFT instrument has generally been overwhelmingly supported in the literature . Many subsequent studies definitively reinforced its validity (Arizmendi et al., 1981; Green, May, 1985).

Cairns and Cammock (1984) developed what has come to be known as the most valid and reliable version of the MFFT (the one that we used). They presented five case studies that asserted an increased reliability and accuracy in that subjects were more accurately categorized into one of the four quadrants (impulsive, reflective, fast-accurate, or slow-inaccurate). Their instrument uses 20 sets of pictures (instead of the 12 in Kagan’s original test) that were reduced down from an original list of 32 items that was, in turn, concatenated and prioritized in several reliability studies. The researchers performed four separate reliability tests of over 300 total additional subjects to develop sets of norms, and established strong correlations between order position (i.e., the order in which the picture sets are presented), error rates, and interactions between age and sex.

Sidebar
Meaning our idea of random positioning through computerization would also need to have some pilot testing done to check reliability

One of the most interesting things that I have learned from doing these studies over is that over time (looking back at Cairns and Cammock’s results as compared to the many times I have administered this test) the amount of time it is taking subjects to make their first choice and the number of errors made is shrinking significantly. Remember, the groups are only compared to themselves (i.e., the median scores are self contained within each administration). When looking at this over time, it appears that maybe McLuhan was more right than even he realized… that the medium a person uses not only alters the message but also the person based on one’s tendencies to (over)use that medium.

To me, that is the real story here. The results of the cognitive style measurements I have personally made over time seem to indicate that something about learning styles has changed significantly since the original instrument was analyzed and developed. When you compare the results of MFFT-20 cognitive style in subsequent studies to the norms provided by Cairns and Cammock (1984), not only has the median total number of errors decreased (from 28-30) in the Cairns and Commock studies to eight in an administration I did about 20 years later). Also so did the median latency to first response (from 18 in 1984 to 9.12). These reductions seem to indicate that latencies to first response for visual activities were growing significantly shorter, but the quicker responses do not always translate to higher error rates. The testing I have done indicates that participants appear to be developing a propensity for more correctly remembering things from rapid visual presentations. The results in this class are quite small but they tend to agree with my hypothesis. A modifying factor is age of participants. In most of the studies I have conducted, the participants were generally within one or two years of those in the original study. As you should see, because you folks are a bit older than middle schoolers! It was expected that your scores would be different. But note even with this caveat, your scores were still different than those from 1984.

Another change that is taking place is the shrinking of the differences in visual cognition between males and females. With Cairns and Cammock, female responses were considered to be ‘outliers’ and were systematically eliminated from their study. In subsequent studies that I have done, any differences between males and females that exist have not been significant. While females still may be found to be more reflective than their male counter-parts, these differences seem to be growing smaller.

All of this has tremendous value to our research and decisions about media choices. If our definition about ecosystems holds true, then we can make some interesting observations about our being able to measure psychological responses to the media. I offer you an interesting follow up study to help you look at the implications a bit further.


Download link: http://emeclasses.org/wp-content/uploads/2016/08/327set4b_learningstyles.pdf

Click to Learn the Impact of Reflective - Impulsive Cognitive Style

Group Embedded Figures Test (GEFT)

As you can see, a number of instruments have been developed to measure a person’s cognitive style. One of the easiest to administer, especially in group situations, is the Group Embedded Figures Test (GEFT) The GEFT is a perceptual test that requires the subject to locate a sample figure within a larger complex figure. The GEFT can be administered in about 20 minutes (ours was not timed) and can be quickly scored using answer templates.

The Group Embedded Figures Test (GEFT) was designed by Witkin in 1971 to assess his concept of “field dependence – independence” (e.g., Witkin & Goodenough, 1981). ‘Good performance’ was taken as a marker of field independence… the ability to dis-embed information from context or complex surrounding field. This test requires you to spot a simple form within a more complex figure; the color and form of the latter create a gestalt within which the part is hidden. (Some administrations of the test use color also to distract the participant.

Witkin (1916–1979) was a founder of the notion of determining cognitive and learning styles. He proposed the idea that personality could be measured in part by how people perceived their environment. In particular, he attempted to create objective tests (in contrast to questionnaire methods), such as the Rod-and-Frame test, to measure individual differences in reliance on external versus internal frames of reference. The Embedded Figures Test was created by Witkin as a more portable and convenient test designed to measure these same facets of field dependence or independence.

Witkin spent much of his academic career developing measures of learning style. His research showed that there were differences in how people perceived discrete items within a surrounding field. People at the one end of the extreme where perception was strongly dominated by the prevailing field are designated “field-dependent.” Field-dependent learners see the forest. At the other extreme, people are considered “field-independent”, if they experience items as more or less separate from the field. Whereas field-dependent people see the forest, field-independent learners see the tree within the forest. Since scores on learning style tests form a continuous scale, the terms field-dependent and field-independent reflect a tendency, in varying degrees of strength, toward one end of the extreme (field-dependent) or the other (field-independent) (Witkin et al, 1977).

Sidebar
Note the difference between this idea of a continuum versus the bi-polar nature of the MFFT

On all embedded figures tests, the higher the score, the more field-independent the subject, and the lower the score the more field-dependent the subject is. It must be stressed that learning styles are independent of intelligence (i.e., does not measure IQ). Remember, field-dependence/field-independence is more related to the PROCESS of learning, not the APTITUDE for learning. Both field-dependent and field-independent people make equally good students as well as teachers.

The embedded figures test is another measurement we can use to detect intellectual development. Because longitudinal studies do not appear in the literature we can easily detect trends. I have been keeping anecdotal records of results over time and am beginning to see trends. I also believe at this time the scoring norms most likely needs to be adjusted and is a project I have on the back burner.

Sidebar
I am a proponent that there is a lot of ‘low hanging’ research fruit out the for current scholars (and doc students) to use to update the works of earlier masters… there is no sense in re-inventing the wheel. I am hoping I can convince a future doctoral student to work with me on this.

References

Arizmendi, T., Paulsen, K., & Domino, G. (1981, Spring). The Matching Familiar Figures Test: A primary, secondary, and tertiary evaluation. Journal of Psychology, 812-818.

Ault, R. L., Mitchell, C., & Hartmann, D. P. (1967). Some methodological problems in reflective-impulsivity. Child Development, 47, 227-231.

Berry, L. H. (1991). Visual complexity and pictorial memory: A fifteen-year research perspective. Paper presented at the Annual Convention of the Association for Educational Communications and Technology. (ERIC Documentation Reproduction Service No. 334 975).

Block, J., Block, J. H., & Harrington, D. M. (1974). Some misgivings about the Matching Familiar Figures Test as a measure of reflection-impulsivity. Journal of Developmental Psychology, 10, 611-632.

Cairns, J., & Cammock, T. (1984). The 20-Item Matching Familiar Figures Test. (ERIC Document Reproduction Service: No. 015681-4).

Green, K. E. (1985). Cognitive style: A review of the literature . Chicago, IL: Johnson O’Connor Research Foundation, Human Engineering Lab. (ERIC Document Reproduction Service No. ED 289 902).

Salkind, N. J., & Wright, J. C. (1977). The development of reflection-impulsivity and cognitive efficiency. Human Development, 20, 377-387.

Watkins, J. M., Lee, H. B., & Erlich, O. (1978). The generalizability of the matching familiar figures test. Paper presented at the Annual Meeting of the American Educational Research Association (ERIC Document Reproduction Service No. ED 175 882), Toronto, CA.

Witkin, H. A., & Goodenough, D. R. (1981). Cognitive styles: Essence and origins. Field dependence and field independence. New York: International Universities Press.

EME 6696/7608 {Media Ecology} – Analyzing/Assessing Responses to Media

Thursday, September 9th, 2021

Read Me First
Lesson Preface

Now that we have all this data collected about media and aggregated in your profiles, the question now becomes how do we analyze it so it becomes useful information?

We break this module down into focus areas. The first is a general review of the processes and research principles that we use to analyze media and how to measure our responses to it and the possible effect they have on our brains. To do this we need to first cover a couple general analytical axioms related to sampling, validity, and reliability. We promise not to delve too deeply into the statistics behind research as those are well covered in other statistics courses you can take. But these three (which I will call the ‘essential trio’ for analytical design) are important because without these no research study is worth the time spent administering it. As my statistics professor once said, “in research, validity and reliability is everything, anything else is… (you fill in the rest)” Actually he was quoting his own professor and mentor, Dr. Robert Snow (of the Cronback and Snow fame).

Following the general introduction to formulating a research study, we move on to specifics about how we go about analyzing media and our responses to them.
Last, we will take a look at a couple ancillary views about media (especially visual media) in the form of looking at what some refer to as visual intelligence, the co-called ‘new brain’ and the interaction of media and cognition. I think these will be a great way to complete the study we are conducting this cycle.

The intent of this course is simple: if you can get a handle on the major characteristics of each media type and define them for yourself and how they interact with humans, you will have a sound basis for selecting the media type for your instruction. Using the checklists that based on your final notebook you can then move on to making better decisions regarding which app to use in your class and whether it has the best chance of assisting you in achieving your teaching goals.


To help you know what to read for in the sections that follow, you may first wish to look at the “Do This” box at the end of this lesson before begin reading.

Setting Up the Study: Basic Considerations

We are surrounded by people making known their opinions about a subject. While this is protected by the Constitution under free speech, nothing gives education more of a bad name than when folks provide them when they have little or no basis in research. One of the problems with doing educational research is that we cannot conduct it as purely ‘experimental’ (i.e., with true treatment and control groups. For one, that is illegal in many states… you simply cannot provide a known treatment to one group that you strongly suspect is going to either have no effect or is harmful… so, the concept of ‘quasi-experimental’ was born. The concept of experimental being quasi or ‘almost is anathema to purists and may be the cause for many of them to consider educational research being a ‘soft science’.

While this may be true in many cases where folks take too many shortcuts in an attempt to get their dissertations of journal articles published, there are many things one can do to ensure the validity of their studies and are discussed in detail below.

But first we need to agree on some basic ideas about research in general.

How Not to Be Wrong

What this entails is the idea that you may be looking for too much significance in your study and/or or over-designing it. Believe it or not, simpler is better. In his book on the subject, Ellenberg argues that perhaps we are asking too much with our studies. This is true especially in educational domains. First of all, there is the error term (or the probability that we are wrong). In education, we are satisfied with a 5% error. We learn in our stats courses that there is a risk-reward factor embedded into what is an acceptable error term. What this means is that if you are doing some mid-level research the error term one can cope with can be higher. Think about it… if we were inventing an new medicine and were satisfied with a 5% error, that means that one out of 20 who take this new life-saving drug may die. Not good enough for medicine but may be ok in our field. So much for teaching humility! We are not deprecating the value of educational research but simply letting you know why validity is so important. Validity, reliability and sampling etc, is because we can control what we can control and that makes our work that much more valuable.

We have downloaded a pdf of the Ellenberg’s book knowing that you will most likely not read it all. The best parts are sections eleven, seventeen and eighteen as well as his intro in which he explains his premise.

Download Link: http://emeclasses.org/wp-content/uploads/2016/10/hownottobewrongsmall.pdf

How Not to Be Wrong

Causation

As we have learned, a moving image is worth an infinite number of words. The following is offered to help you understand the concept without overloading you with more text in this lesson. The video plays for about 15 minutes. The Annenberg series (Against all Odds) is an award winning series.


As we said previously, at the heart of sound research are three main elements:

  • Blocking and Sampling
  • Validity
  • Reliability

Doesn’t sound like much but these three are at the heart of any good research study and the first thing reviews and dissertation committees look at when evaluating the study. Surely the wrong analysis tool can be utilized which will skew the study. But noting can do more harm (or make the study more valuable) than careful attention to these three elements.

Blocking & Sampling

Annenberg Learning Center is also the place we go to find the best lesson on blocking and sampling. This video is quite old, but the concepts have not changed. I had saved it on my server due to its age and fear that id might disappear. I was not wrong. This one you will not find anywhere else. I offer it because it introduces the topic in the easiest way and is very understandable.This one is about 30 minutes but is worth it.

Click to View Video

Validity and Reliability

These two are generally looked at together. YouTube has tons of videos on the subject. The hardest thing I had to do was to find one that is presented at the right tone and on the right level. I found one that lasts 39 minutes and is excellent but perhaps too scholarly for the time we have to look at this. There was one done by someone who is obviously a 'hip' millennial who does the whole thing in about four minutes... maybe too lighthearted for us. The one I provide is one of the better ones. This one lasts about seven minutes.

Reliability vs Validity

Validity is an important enough topic that also can be covered on its own. Again in digging for a video I came up with this one... there are others if it does not suit your taste.

Introduction to Validity

Analyzing Media

Analyzing Text

Sidebar

First of all, we must note that as educators, we are accustomed to measuring/assessing the validity of our interventions through testing (whether in-house , end of course, or standard). We differentiate it here because, as instructional designers we do not have the luxury of waiting until a course is completed before we determine what we designed (in this case the media we select) is effective. Designers are faced with needing to find tools that will help us predict outcomes well in advance. And because we do not always have the time to test our design decisions, we must utilize what has been found to be effective in the literature. What follows, then is a series of readings that demonstrate what has been done and to give you means to be able to locate literature on your own and make determinations as to whether what is being provided has value (i.e., is valid and reliable).

In order to expedite that process we borrow considerable information from communications studies because they tend to provide the closest predictability that we are looking for. We also wish to make it clear that self-reporting tools such as those found on surveys are useful as a part of a mixed method studies but more and more experts in the field are deprecating their effectiveness as reliable validity tools. Surveys are very useful and probably the most often used in education studies. What to look for here are instruments that measure responses of a different kind... not responses to surveys but those measured innately as the user/reader/viewer/listener/player actually performs the reading/listening/viewing/gameplay.

One of the means to measuring/predicting user/reader responses to text is through an analysis of attention. Several products can be found on the market that measure attention. One could also utilize eye movements, heart rate etc. (as will be shown in Lang's book that follows). One of the more recent additions to the market is a product called Nervanix. We are not necessarily recommending Nervanix here but we introduce it because we have had first hand experience with the product and it appears to be useful and has potential. Our research with this product continues. We do know that is ==t is based on brain-based research and has tremendous potential. It is affordable and easily implemented.

Link to their website:
http://nervanix.com

Measuring Responses to (non-text) Media

We generalize as to the types of media that are discussed in this section as, for the most part, the kinds of studies that are organized can be the same or at least very similar. First, we discuss Annie Lang's work (she is actually the book's editor) on measuring media (mostly visual) but it is relevant to immersive media also in some cases. The goal is to demonstrate the kinds of studies that have been found in the literature to be the most effective. we are not asking that you become an expert in this arena, as the subject is normally taught as a part of an entire course or series of courses that form a degree in communication studies. Our job is to provide some ideas to help you organize your thoughts as you begin to select the media for your courses.
In this book, two parts provide the most insights: The Preface and the Chapter on setting up experiments.

Besides the passages that are provided below, the book's contribution to our current review at this is a look at the table of contents as described in the preface:

Download Link: https://emeclasses.org/wp-content/uploads/2016/10/measuring-media-preface.pdf

One of the most relevant chapters in the book is Chapter Nine. In it Byron Reeves and Seth Geiger discuss setting up various experiments to assess psychological responses.

Download Link: https://emeclasses.org/wp-content/uploads/2016/10/measuring-media-experiments.pdf

Chapter 9: Assessing Responses to Media Messages

Analyzing Media

Cheseboro and Bertlesen's book provides additional information of how one can compare the usefulness of media messages by way of outlining the history of media as a communication tool and its effect on human culture. Their preface/introduction outlines a short but exceptional view. This view of measuring media speaks to the need to analyze the learner in your instructional designs. Analyzing each media type in terms their interaction with the user/viewer/reader/listener/learner/player-learner should be a good addition to your notebook.

Download Link: https://emeclasses.org/wp-content/uploads/2016/10/analyzing-media.pdf

History of Media Cultures

A second portion of the book offers an analytical view of media through an overview of the theory of mediated communication.

Download Link: https://emeclasses.org/wp-content/uploads/2016/10/mediated-communication.pdf

What is Mediated Communication?

Media Messages

Recognizing that we may be straying a bit, we can learn something from Riffe et al's book on Analyzing Media Messages. This book is a scholarly review of how to look at media messaging and provides a quantitative view on content research. While most of content analysis in communication studies has limited value for our purposes, the introduction does help to open you up to considering the intersection of the medium used and the message content, something that perhaps is worth adding to your notebook.

Download Link: http://emeclasses.org/wp-content/uploads/2016/10/analyzing_messages.pdf

Content Analysis

Conducting Educational Research

When considering doing research in educational arena we are often faced with deciding which is the best methodology we can select? Knowing the limitations of being able to do purely experimental research, what is it we can actually do?

Two categories that are worth mentioning for our studies are action research and educational design research. Both are coming into their. Both follow the principles of formative design and research, which is very relevant to an instructional designer's role. With that in mind we should explore all three ideas.

Action Research

Download Link: https://emeclasses.org/wp-content/uploads/2016/10/action_research.pdf

A Comprehensive Overview

Formative Design/Analysis

Educational Design Research

We have brushed upon the previous two topics so as to provide you with some insights about current trends in educational research. Educational Design research deserves a 'deeper dive". If we were to ask you to purchase one book for this course, this might be it.

Download Link: http://emeclasses.org/wp-content/uploads/2016/10/EducationalDesignResearch.pdf

Introduction to Educational Design Research

Additional Readings

The following authors bring to the table additional thoughts on how we analyze the impact of technology decisions we need to make as a part of our instructional designs. I will leave it up to you as to their impact on the final content you include in your media notebook. Please do not take them lightly. While much of the discussions follows a communications studies path, a lot of it correlates with our thinking on pedagogy. The issue of approaching/considering media and technology as ecosystems as a part of our design is a complicated one. Hopefully, we have been able to make that point with you during this semester.


After Completing this set of Readings You are Expected to Do the Following
dothis

Write your response and follow the instructions found in the drop box on canvas.

References

Barry, A. M. (1997). Visual Intelligence: Perception, image, and manipulation in visual communication. Albany, NY: State University of New York Press.

Chesebro, J. W. & Bertlsen, D. A. (1996). Analyzing Media: Communication technologies as symbolic and cognitive systems. New York: Guilford Press.

Ellenberg, J. (2014). How not to be wrong: The power of mathematical thinking. New York: Penguin Press.

Goldfarb, B. (2002). Visual Pedagogy: Media cultures in and beyond the classroom. Durham, NC: Duke University Press.

Lang, A. (ed.) (1994). Measuring psychological responses to media. Hillsdale, NJ: Lawrence Erlbaum Associates.

McKenney, S. & Reeves, T. C. (2012). Conducting educational design research. New York: Routledge.

Restak, R. (2003). The new brain: How the modern age is rewiring your mind. Emmaus, PA: Rodale.

Riffe, D., Lacy, S. & Fico, F. G. (1998). Analyzing media messages: Using quantitative content analysis in research. Mahwah, NJ: Lawrience Erllbaum Associates.

Salomon, G. (1994). Interaction of media, cognition, and learning: An exploration of how symbolic forms cultivate mental skills and affect knowledge acquisition.Hillsdale, NJ: Lawrence Erlbaum Associates.

EME 6696/7608 {Media Ecology} – Media Evolution

Sunday, January 10th, 2021

This article presents an integrated model for understanding the evolution of media, aiming to go beyond the traditional reflections—which tend to reduce media history to a linear succession of technologies—to propose an integrated view of media evolution.

Link to download article

scolari

EME 6696/7608 – Media Biases

Sunday, January 10th, 2021
Preamble to this Module
This module looks at biases in media constructs. Media ecology as viewed from a communications perspective is often about media literacy and biases. When we measure responses to media it is often useful to understand these built in biases. But for our case read between the lines and wherever you see the word ‘bias’ think of how a particular bias may affect meaning making in your instruction. This has been our overall intent in this course… to get you to start thinking about media and technology with regards to its impact on you as a course designer and your learners.

Download Link: http://emeclasses.org/wp-content/uploads/2016/10/Zimmer.pdf

zimmer

Do This
dothis

After reading this article, post in the drop box in Canvas notes that demonstrate your understanding of how biases can be created in media.

EME 6696/7608 {Media Ecology} – Media Ecology as an Academic Discipline

Sunday, January 10th, 2021

Read Me First
Lesson Preface


The information below introduces you to media ecology as an academic discipline with the intent of introducing you to the topic and making the case for us to be studying it in the first place. Some of the content we cover in this course is also introduced in other courses in the form of a module or set of readings. While this might seem redundant, recall that it sometimes takes three attempts at covering a topic before it is understood and internalized. Here we expand upon information that was provided in the other courses and attempt to demonstrate how that information fits into the overall picture of our degree program.

House Rules/Perspective/Assumptions

  1. Introducing you to these contexts are quite different than what you will learn in your later readings. Media Ecology for the most part is the study of media as a communications tool. We are looking at this discipline in terms of it being a foundation for instructional design and supporting the choices you will be making to utilize media in your instructional design documents… or as a teacher, the choices you make for the kind of media you might select for your lessons.
  2. The overall game plan is for you to build a personal notebook containing profiles that are filled with the most significant characteristics of the various media types. As you move through the course you will most likely want to go back to previous ones and add a column that compares/contrasts that media type to the others.

  3. To that end, note that we may have ‘hijacked’ many of the classifications that you will read about in the modules as they relate to:
    • The actual classifications used (we artificially break it all down into three broad (supra) categories). What you read will classify media very differently.
    • the supra categories that we have picked are somewhat arbitrary to make them fit more tightly into a 15-week course… the study of media ecology is much more theoretical and the subject of speculation and research. It is the subject of an entire degree program at two major institutions (University of Toronto and NYU).
    • The ‘supra’ categories we have selected will most likely include more than one media type. For example, graphics could many different forms of visual media). The choices you make in your notebooks are yours. All we ask is that you provide a rationale for each entry. In the final media notebook that you turn in at the end of the term one of the questions we will be asking is for you to list the individual media that you believe should be included in that supra category.
    • The order that we introduce the categories does not imply any particular hierarchy. Nor do we imply a direct correlation to the so-called ‘cultures’ ‘periods’ or ‘eras’ that describe the communications evolution that people have gone through. In fact, for our purposes, they may actually refer to more than one. You will learn, for example, that the (re)introduction of text in the Internet culture id often referred to as a period of secondary orality by Walter Ong. Starting out with text might be already out of order due to advances in digital media. Cave drawings (i.e., graphics and pictures) pre-date text by a long shot. So, do not assume a chronology OR a hierarchy.

  4. These are some of the reasons we ask you to name the types of media (and eventually define it either ‘hot’ or ‘coll’ using McLuhan’s labels) for each classification in the notebook.

Goals for this Module

At the end of this set of readings we expect that you will become familiar with the original thoughts behind the media ecology concept, how it evolved, and its original intentions. This will lead up to next cycle’s readings on the early pioneers behind the movement. As we move through the semester we will provide a rationale for using the media ecology perspective for educational purposes.

Even though the topic has been around for decades, media ecology is introduced in a ‘current trends’ course because the initiative is experiencing a revival with new ideas and thoughts in light of the newer, more pervasive technologies such as mobile devices. Your job as a student will be to analyze the media ‘ecosphere’ and decide its impact on instructional design. Be prepared to cite your initial reactions on the topic and your impressions as to what you believe its impact is/will be on instructional design going forward.


One thing you should realize right away is that, while much has been written about this topic, there does not seem to be any one good body of work that we can utilize as a textbook for this course. The materials were derived from a multitude of sources. Whenever possible they will be cited in order to provide you with a way to delve further into the topics during the semester and after the course ends. If we were to do this content justice you would have ended up having to purchase no less than eleven different texts. Instead, I am taking the liberty to lift/borrow what I have found on the Internet and stuff from my own personal library. To begin we introduce you to two sets of readings:

The following is an excerpt from Lance Strate’s book: Echoes and Reflections: On Media Ecology as a Field of Study. We apologize in advance for the poor resolution.

Download Link: https://emeclasses.org/wp-content/uploads/2019/02/strates_book.pdf

Introduction to Media Ecology

The second is a doctoral dissertation dating back to 1973. Christine Nystrom was a doc student who studied under Neil Postman, one of the early pioneers of the media ecology movement who you will hear a lot more about next cycle. This is quite long but is something you might want to hold on to and refer to later on as you begin to develop your end-of-term notebook. It is a great reference for you to use later on and ,as such, is not to be considered “light reading’ by any stretch of the imagination.

Download Link: http://emeclasses.org/wp-content/uploads/2016/07/toward_science_media_ecology.pdf

Toward a Science of Media Ecology
After Completing these readings you are expected to do the following
dothis

Check the Drop Box entitled Reflections on Cycle 1 Readings: Definitions of Media Ecology

References

Strate, L. (2006). On media ecology as a field of study. Cresskill, NJ: Hampton Press, 1-12.

Nystrom, C. L. (1973). Toward a science of media ecology: The formulation of integrated conceptual paradigms for the study of human communication systems. Doctoral dissertation: New Your: NYU School of Education.

EME 6696/7608 – The Digitization of Media

Saturday, January 9th, 2021

Preamble to this Module
In this module we introduce the concept of digitization via an interesting Prezi and its effect on media (maybe our first introduction of digital media???).

Before we start, there are a few technical corrections that need to be made regarding this piece:

    • First of all, the plural of medium is media.. while many refer to digital media as a singular term, the correct noun verb usage to use is the plural form… ‘digital media are..’ for example.

 

    • All data on computers are NOT stored as zeroes and ones. Technically, everything in a computer is magnetized/electrical in nature. So, when you are asked, what is stored on a computer.. the correct answer is plus and minus electrons. It is computer programs that convert the positive electrons to ones and negative to zeroes at the machine code level. All programs on computers are stored/converted/interpreted on a hierarchical basis.. all the way ‘up’ to the scripting languages such as HTML, java script etc. Converting scripts into English (or other languages is also a programming issue. The difference between digital media and static electricity is that electrons become media if they can be repeated back to you in sustainable/predicable ways (i.e. static electricity is simply electronics that are random in nature). If you understand that you can make the mental leap to see how a room’s walls (or a rug’s) color could conceivably be changed electronically instead of using paint, for example.

 

    • The intent/purpose/advantage of digitization is mainly in support of the following four activities:
      1. capturing
      2. storing
      3. manipulating
      4. disseminating/distributing

 

  • Yes, each medium can be combined with other media without losing its integrity, but the truth is, overall interpretation of the message provided by ‘multi‘ media can sometimes be different than if it is utilized alone, regardless whether that medium is analog or digital… take remixing for example. One most obvious effect is intellectual property rights/copyrights. We will explore this in the next cycle when we delve into the concept of media convergence.


This Prezi introduces a short history of media that leads up to digitization, which is a phenomenon that has occurred only in the last 30 years. After looking this over, think about the main points and be prepared to post them in the drop box.

Here are a couple of other looks at this debate/conversation:

https://junoindisorder.wordpress.com/2014/02/03/the-difference-between-the-analog-and-digital-media/

http://www.explainthatstuff.com/analog-and-digital.html

Do This
dothis

A lot can be found on the Web that introduces us to the conversation/comparison between analog and digital media. We need now to be making some judgments as how this all relates to this course on media ecology and our classification efforts.

Follow the instructions in the drop box on canvas and post your response accordingly.

EME 6696 – Visual Intelligence Video

Wednesday, December 9th, 2020

This is a short presentation on visual intelligence that should help you decide on what to put into your profiles:

EME 6696/7608 {Media Ecology} – Media Convergence

Monday, December 7th, 2020
Preamble to this Module
We are living at a moment of profound and prolonged media transition: the old scripts by which media industries operated or consumers absorbed media content are being rewritten. As those changes occur, we need to work across the historic divide in academic research between work on media industries and work on media audiences.

The above statement made by Henry Jenkins sets the table for this module. You will get the chance to read the rest below but it makes as strong statement about the future of media and the media ecosystem. In the last cycle we introduced digitization. In truth digitization represents only one third of the process of media convergence that we are exploring this cycle. To further situation the argument I present to you below an article taken from the Encyclopedia Britannica [concepts in brackets are mine]:

Media convergence is a phenomenon involving the interconnection of information and communications technologies, computer networks, and media content. It brings together the “three C’s”—computing (i.e. digitization), communication, and content—and is a direct consequence of the digitization of media content and the popularization of the Internet. Media convergence transforms established practices to enable entirely new forms of content to emerge. [so convergence actually creates a new paradigm]

It erodes long-established media  and content “silos” and increasingly uncouples content from particular devices, which  presents major challenges for public policy and regulation [we discussed copyrights for example]. The five major elements of media convergence involve  technology, industry, social norms and practices, the textual practices , and political environments.

Here is a link to the complete article. Note that some of this we have already discussed (i.e. trans-media storytelling). Now that you have already explored the concept of media ecology and hopefully now seeing it in a new light, your job is to begin to decide how this all effects teaching and learning and instructional design. I am hoping what seemed as very obtuse concepts in the beginning of the term now have become more obvious and more finite.

There is a lot more written about these theories but for now let’s take a short cut in the name of time and ‘cut to the chase’ by way of two examples.

Unless you are a reading coach or an ELA teacher the commercial below may have never occurred to you prior to taking this course. For some of you, the concept of ‘multimedia’ may not have been fully understood before now. The Jenkins article takes aim at the artificiality of collective intelligence fomented by social media companies and speaks to media biases. No longer is collective conscientiousness always a viral concept but one that can be manipulated. Tune into current news about media companies like Google and Facebook and you can get the sense of this premise. Ending on a positive note, perhaps translating this to teaching and learning, perhaps social media (or media in general) can be a tool to effect change in your students in a good way.

Do This
dothis

  1. Watch the Amazon video that implies in its message that reading and audio books are the same thing. Based on your current knowledge and follow up research, post a response to this premise either supporting or disavowing its premise. Is listening to a book the same thing as reading a book? Do you agree or disagree? Not looking for opinion here (although you MAY suggest one but anything you say about this MUST be backed up by some type of research or strong statements by experts in the field of reading and/or media ecology).
  2. The second part is a white paper written by Henry Jenkins that makes some assumptions about media convergence as it relates to knowledge acquisition and society in general.

After watching the video and reading the paper post your response to each premise in a single drop box on Canvas. The expectation is approximately two to three paragraphs up to one page for each section.

Click to View the Commercial



Download Link: http://emeclasses.org/wp-content/uploads/2016/10/Convergence-2008-Jenkins-5-12.pdf


Still & Time-based Media

Monday, December 7th, 2020

Read Me First
Lesson Preface
With this lesson we begin to fill in some of the blanks you might have left from your work with text based media. You maty first observe the differences and similarities as related to the categories. It is most probable that, besides making new entries, you will want to go back and make some adjustments to your previous entries for text. This is expected and most definitely necessary. The final assignments will not be completely the same as the first iterations that you turn in at the end of each cycle. This is called iterative thinking. Something you read now may trigger some thoughts and ideas from previous entries. Also, some of the movements you will read about in this cycle are, in fact, reactions by the theorists to previous thoughts about media ecology as the discipline developed. For example, in this module you will see comparisons made between text and non-text media. So, it is ok to go back entries for previous cycles and add to/modify them based on what you discover over during this cycle. .

For this iteration you may add a new column… compare/contrast entry that you can format in any way that makes it easy for you to do the comparisons.

[SPEAKING OF ITERATIVE.. NOTE THAT THERE ARE SEVERAL EMBEDDED LINKS IN THIS SET OF READINGS. THIS IS INTENTIONAL TO PROVIDE YOU WITH THE OPPORTUNITY TO DIG DEEPER INTO THE CONCEPTS PRESENTED. INSTEAD OF INTERRUPTING THE FLOW, THE LINKS PROVIDE YOU THE OPPORTUNITY TO DIG INTO THOSE AREAS YOU MIGHT NOT BE FAMILIAR WITH BUT ALLOW THOSE WHO ALREADY ARE FAMILIAR WITH THEM TO CONTINUE ON UNINTERRUPTED.]

We need to remind you what we have been saying since the beginning… finding the answers to some of the questions in your tables/charts will require some digging on your own.… you are going to have to deal with a lot of inferences. While you may interject personal observations to get the most out of this course, you should see if any of your ideas have been verified. If you need to cite anything, please use APA 7. This not a course where you simply read something to locate your answers directly to fill in a blank line or answer a multiple choice question.. you will be required to do some heavy critical thinking and to trust your instincts. We will have the chance to review each others’ list using the peer reviews we did last cycle. Hopefully, collaboration among you will also stimulate new ideas and thoughts. Remember, Media Ecology is an entire degree program/research agenda at some universities. We are trying to cover the gamut in one short course.

We must also reiterate the idea that it is probably best to segregate/parse out the technology (i.e., the container or vehicle) utilized to deliver the specific media used to communicate (the text, the video, the image, the Web, etc.). Analog analog text may or may not be the same as digitized text… the same goes for still and/or moving images. We will do our best to keep this distinction in our discussions, even if the theorists (including those we refer to as the ‘masters’) in these lessons struggle to do so. This separation has been one of the most significant theoretical debates in the entire media ecology movement.

As a frame of reference, in another course you may have been referred to what has been called “The Great Debate” between Clark and Kozma… the former arguing that technology is no more significant to education as a milk truck… the milk is the same regardless how fancy the vehicle used to deliver it. Granted, Clark grossly over-simplified the analogy but he did have a point.



A picture is worth a thousand words

Arthur Brisbane, 1911

The actual derivation of this quote is still being debated but 1911 appears to be the earliest appearance in one form or another. While Brisbane intended it for an advertiser’ convention, it certainly is a good place for us to start. Hopefully, by the end of this lesson you will have a deeper understanding of exactly this phrase means, especially as it relates to communicating and learning. In fact, you may wish to add reference to this as a part of your profile. What does it mean? What ideas does it conjure up about the quality of imagery? Is cognitive load an issue? How about interpretation? How about endurance (how long does it last versus text)? How about economy…(Which one is easier to communicate, text or imagery)? What about font sizes versus aspect ratios? How about image resolution? etc, etc.

So, we start off our discussions on still and time-based media looking at still/graphic imagery…

A Definition (as Good as Any)

“Imagery means to use figurative language to represent objects, actions and ideas in such a way that it appeals to our physical senses. Usually it is thought that imagery makes use of particular words that create visual representation of ideas in our minds. The word imagery is associated with mental pictures.”

Then we move on to moving images….

if a still image is worth 1,000 words… how many are moving images worth?

International Visual Literacy Association

Visual Literacy Explained

This is good a place to start your research … at least as far as looking into what visual literacy means

Sidebar
… recall we asked last time… what is the difference between literacy and letteracy?

If any one organization has done more to promote visual literacy, it would be hard to find, as this is the first and most comprehensive Website to find research articles on visual literacy. From their Website:

IVLA is a not-for-profit association of researchers, educators, designers, media specialists, and artists dedicated to the principles of visual literacy. IVLA was formed for the purpose of providing a forum for the exchange of information related to visual literacy. We are also concerned with issues dealing with education, instruction and training in modes of visual communication and their application through the concept of visual literacy to individuals, groups

——————————————–

The Rise of the Image the Fall of the Word

While this book does not distinguish between still and time based images (in fact, it focuses mostly on television) much of what Stephens talks about relates to both.

From the book cover [notes in brackets are mine]:

For decades cultural critics have deplored to corrosive effects of electronic media [i.e., television in particular] on the national consciousness. The average America reads less often, writes less well [rhetorically, is this actually a bad thing? you need to ask as a part of this exercise.. if so, why?] And, numbed by the frenetic image bombardment of music videos, commercials and sound bites, we may also [it is widely argued] think less profoundly. But wait: is it possible that some good might arise from the ashes of the printed word?

Sidebar
To bring this back full circle we need to recall the Gutenberg Parenthesis argument introduced in previous lessons. While it focuses on the secondary orality paradigm, one could make the case for imagery also.

Stephens makes the case for promoting the use of imagery as the new communication paradigm. That it has its own language (at UCF we use to teach a class called the the language of the moving image, which was a metaphor for animation).
To get an idea as to his premise, here is a list of chapters:

  • These traditional splendors of letters
  • Print and the threat of new media
  • The magic of images: By means of the visible; Fast seeing; Multiple fragments assembled under a new law; complex seeing, etc.
Sidebar
I think you get the idea….delve into the deeper meaning of these titles and you will get the answers to your questions

I would love to have you read this book in its entirety but we only have 15 weeks to digest all of this, so in an attempt to help you quickly get to the bottom line in this thought process we offer a couple of links:

Download Link: http://emeclasses.org/wp-content/uploads/2016/09/MediaBRStephensRiseImage.pdf

Stephens suggests that (digital) imagery has been giving rise to a new communication paradigm. Remember, he is (still) the Chair of the Communications Department at NYU. We need to borrow his thoughts on visual communication and apply them to teaching and learning.

A later series of articles by Stephens:

Visual Language

Visual Language… now there’s a revealing term. Yes, visual graphics (still and “time-based” (i.e., movies/videos, etc.)) have their unique language and characteristics. This should give you a hint that there exists a unique ecosystem in which they exists. Many (digital) arts programs offer complete courses and/or cognates in this one aspect of graphic design. We offer several sources so you can explore this ecosystem on your own. Remember the goal: to give you a starting point… and then allow you to go as deep as you want. A word of warning.. it will suck you in!!!! don’t get lost in the weeds.. remember the goal is for you to fill out your profile table. Just know that this stuff is very engaging and interesting if you have never explored it before.

Bruce Block

We start with Bruce Block, one of the most prolific movie editors (and critics) alive. Block’s work includes Irreconcilable Differences (1984) and Bachelor Party (1984). He was a consultant for films such as Stuart Little (1999), As Good as It Gets (1997) and Spanglish (2004). As a film producer, he produced and co-produced Father of the Bride (1991), Father of the Bride II (1995), Disney’s The Parent Trap (1998), What Women Want (2000), Something’s Gotta Give (2003), and The Holiday (2006), among others.

Block is the author of the seminal book on film The Visual Story: Seeing the structure of film, TV, and New Media. Here is a chapter from that book (Chapter 4). It gives you plenty of ideas. To wit, the Table of Contents tat provides a master list of visual structural elements, each communicating its own message. Chapter four is also provided as an example of the content from the book.

Download Link: https://emeclasses.org/wp-content/uploads/2018/02/Block_TOC.pdf

Table of Contents

Download Link: http://emeclasses.org/wp-content/uploads/2016/09/bblock-book.pdf

Chapter 4

Minding the Gap

Minding the Gap is a film/video production technique that states essentially that sometimes what is not said (read between the lines in the text ecosystem) is as important as what is shown on the screen. The idea is that, when making a film, the cost of every scene is such that an editor who is tasked with cutting the length of a movie down to the requirement imposed by the film studio to not be more than 2 hours long, needs to ensure that nothing is wasted. Bruce Block once said in editing you start with a hatchet and then end up using an exacto knife because it gets harder and harder the closer you get to the two hour limit. So, when you watch a well edited film, each scene has a purpose or it ends up on the cutting room floor. This ‘language of film’ is an important characteristic for your notebooks, as it explains an important difference between how a story is told in a book and a movie about that book (among other things). The converse of this axiom is called ‘minding the gap’… what is not said is important and up to the viewer.

Comparing narrative between film and literature (text-based) is a complex operation since they rely in differing linguistic and high-order cognitive operations. Visual perception and cognition operate differently from language perception and cognition making it difficult to properly compare the effects of visual data to that of literature as they relate to comprehension. Gap filling requires the so called ‘perceiver’ to draw on visual and audio memories … ones that are not necessarily computed in propositional, high-order cognitive sequences. When one compares scenes between a movie and a text passage of that same scenario, the filmmaker because he or she does not have the luxury of detailing on the page all the background information that is needed to ‘paint’ the picture, needs to rely on a variety of mechanisms of memory storage and retrieval that operate simultaneously with the viewing experience and, rely on how the specific technique used supports the needed speed and efficiency of cinematic gap filling that is required of the viewer.

Here are two theoretical position papers on the subject

Download Link: https://emeclasses.org/wp-content/uploads/2018/02/minding_the_gap.pdf

Minding the Gap

Download Link: https://emeclasses.org/wp-content/uploads/2016/09/Minding_the_gaps_Approaching_film_critic.pdf

Minding the Gap Film and Literature Compared

Some Closing Thoughts

How Images Think

Another seminal book on this topic, written by Ron Burnett covered many aspects of visual imagery’s (especially digital imagery) ability to capture high order thinking and communicate in new and unique ways. In several passages he makes reference to this new culture of the visual.

Digitization means that users, viewers, or participants can take greater control of the interchange and can move around in a continuum of creativity., communications, navigation, and participation. This may explain the extraordinary proliferation and influence of what I will call micro-cultures: places where people take control of the means of creation and production in order to make sense of their social and cultural experiences (pp. 64-65)

In another passage the author reminds the reader that Babbage’s computer and photography came in to being around the same time (1830s),which was not a coincidence:

It is significant that the acceleration of devices for capturing the look and feel of the world paralleled the increasing use of images to communicate the results… which was also the reasons why conflicts arose about truth and distortion with many questions being raised about objectivity, vision, and reality. (p. 65)

Lastly, Burnett raises the question about the proliferation of information:

One of the challenges of having so much information available is that data no longer has the meaning normally attributed to the simple flow of information. (p. 69)

Visual Culture

Richard Howell’s contribution to this discussion surrounds the history of the visual image and how it became ingrained in our cultures. He attributes this to the emergence of the study of semiotics, which actually had its start in the spoken language, evolved to its written form, and finally on to visual cultures.

Pope Gregory in the sixth century AD is credited with pronouncing that painting could do for the illiterate what books could do for the literate.

In short, paintings proliferated because one could use them to tell stories relate history and teach people things even if they had not formal schooling in the letters… which must have made up the majority of the population at the time.

Last, Howells delved into the natural progression of symbolism: iconology,

Sidebar
a field of study that opens up a whole new series of entries for our notebooks.

Exploring Communication and Anthropology Through Film

What is unique about Sol Worth’s work (and what caught your instructors eye) was that one of the more interesting things he was able to demonstrate was that the Navajo, who never saw a film camera, with almost minimal instruction began to record and capture a fascinating range of anthropological vignettes that demonstrated how these people viewed the world. The one technique the appeared over and over again was the close-up. In visual language a close-up represents a high degree of emotion associated with the subject and is intended to evoke the same with the viewer. The constant use of the close-up by these individual over time spoke volumes about the Navajo people and how they viewed interpersonal communications.

Time and Space Perception

This is a good article that explores the impact of adding time and space to perceptual cognition.

Time and Space Perception on Media Platforms

Digging Deeper into Text Based Media

Additional Readings

A couple of authors who have made a significant contribution to the idea of extending text-based media in computer science:

Visual Thinking -You Tube Video

This video runs about 55 minutes but you can spot view it to get the gist of what she is saying. If you have time watching the entire video will help fill in the background for you on visual thinking


Do This
dothis
Continue with your media profile and add characteristic and categories for visual media
Instructions are found in the Drop box in Canvas

References

Block, B. (2001). The visual story: Seeing structure of film, TV, and new media. Boston, MA; Focal Press.
Burnett, R. (2004). How images think. Cambridge, MA: MIT University Press.
Howells, R. (2003). Visual culture. Hong Kong: Graphikraft, LTD.
Smith, F. (1998). The book of learning and forgetting. New York: Columbia University Press.
Stephens, M. (1998). The rise of the image the fall of the word. New York: Oxford University Press.
Worth, S. & Adair, J. (1997). Through Navajo eyes: An exploration in film communication and anthropology.Albuquerque, NM: University of New Mexico Press.

EME 6696/7608 {Media Ecology} – Media and Education

Saturday, November 7th, 2020

Marshall McLuhan had a lot to say about education, in fact it was one of his principal concerns, but even after his passing, he still has much to teach us about contemporary education.

Link to download article

ijms-mcluhan_education_2012