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Um, my name is Bob Appelman. Um, I go

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by Dr. Bob at the university because um and I

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grew up in Bloomington Indiana, because my father was

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on the voice faculty at the School of Music in

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in Bloomington at IU so he was Dr. Appleman

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and I didn't want to be that. So they

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wanted to be Dr. Bob instead. So that's where,

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that that's what I tell all my students,

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because they seem hesitant to call me that at first,

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especially the foreign students. And so, but

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it it becomes has become my handle now. Um

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and I have had such a long history with Bloomington,

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all of the university and then also

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um the Audio Visual Center. Um and it started,

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actually that history started in 1951 when I first

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came to Bloomington when my dad came from North Texas

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State Teachers College to get his degree at Bloomington.

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And at that time, there were army barracks called

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Hoosier Courts in the where, you know, graduate

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students could get a place to live with their family.

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And uh lo and behold, there was this

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family next to right across the hall from us,

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uh and he was called Ed Richardson. And so

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we grew up, I grew up playing with the

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Richardson Joanne and, you know. We knew that

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family and then we moved to another building and then

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lo and behold Mac Fleming was in that building.

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So I became best friends with his son and so

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I wasn't even doing anything with audiovisual or instructional design,

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although I was always interested in photography and music

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and things like that because of my upbringing. Um,

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so one of the things, and uh you know,

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just to make this short, my dad told

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me immediately that I was not a singer because that

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you are either born with a voice or not,

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and I was not. So, I got into instrumental

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work uh and I kind of thought I would be

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going into music. Um, because of the school there and

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all the people that I knew, and I was

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already playing in all the ensembles and things like that,

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but um I found out I'd have to master

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piano and I was not good at piano at all.

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I was more of a visual designer. Uh

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so I went over into the department as a school

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of fine arts there and got my undergraduate degree in

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graphic design. And then when I went out,

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went out pounding the pavement to try to sell my

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portfolio. I saw these little cubbyholes that they stuck

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graphic designers into, and I tried to ask

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well, what I really want to be is

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a film director, because I want to deal with

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something that merges all the art forms together into, um

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you know. I wanted to do something emerges all

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the art forms together uh into a communications package.

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And, I wanted to be very interested in, Um

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I mean, since graphic design, I was very

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much focused on um getting, you know, well

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all the art forms blended and motion picture, motion

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picture production was the thing that I said, I

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really want to do. So I left Chicago's pavement

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and then, you know, trying to get a

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portfolio sold and and they all said, well,

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you know, you got to have experience in film

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production to do film production. So I said,

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well where the heck do you go to get experience

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in film production? So then I say, I

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heard about this audiovisual center that had a very large

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film production unit, one of the largest film libraries

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in the world. And uh, you could actually

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get a degree that uh, you know, gave

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you all the experience you need. So, at that

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time then I guys said I'm going to get a

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Master's and of AV Communications. And so then I

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went into the department there and at that time,

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[inaudible] Olie Larsson was running the show at

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that time, which he always ran the show wherever

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he was. He had figured out ways of gathering

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buildings that the university didn't want. And so we

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now occupied all these sort of decrepit buildings that were

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falling apart Mitchell Hall, [inaudible], Rogers on third street and all

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this other stuff. But heck, I came in there

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first and had to have uh, I had to

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have an acceptance of kind of more of a ghettoish

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type of living style by where I started living.

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So this was no different for me And uh,

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actually kind of liked it. We had a

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great community, tremendous bustle of activity. Um,

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and so I really dove in, found out that

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we had wonderful talent in the Audiovisual Center at that

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time. 16 faculty, of which two thirds were

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all practicing craft professionals. Um, Burrow, Blaine

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and you know, all of the, you know,

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even jerry kemp and uh, Hynek came in.

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The Hynek entry was an interesting one along with

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all of the other people with black because at this

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particular time we were getting steeped in. How do

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you put a film together? That's a good instructional

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film. And the idea came out maybe if there

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was some front end analysis that could be done before

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you write the script, even though we know how

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to execute it beautifully, maybe the script would be

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better and maybe the outcome would be better. So

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then we ended up bringing in a lot of the

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theorists into the Audiovisual Center at that particular time.

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Um, it was interesting, they didn't necessarily associate

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with the production people as much as all the production

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people were working together, but they tried to start

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learning what the heck we were doing and where they

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could fit in. So they started research and of

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course we were in a very behaviorist IQ mode at

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that particular time, it was skinner, doing everything

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in Ohio with all the uh, skin Aryan machines.

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And so, uh, we ended up doing

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films of rat mazes and students in that. And

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uh and and there was a whole industry wrapped around

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that well to make a long story short now on

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where a C a E C T fits into that.

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I could go ahead and be a film director

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but I needed to use equipment and we found that

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people didn't know how to use equipment. And so

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now teachers didn't know how to use equipment and they

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didn't, if we made a film they couldn't show

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it because they didn't know how to use the film

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projector or they didn't know how to use overhead.

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So they didn't know how to do this other stuff.

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And so all of a sudden the focus started

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to be on on sort of teacher support. And

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then there was this thing called the novel workshop.

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And that was where we had the National Audiovisual Association

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come to indiana. So being a graduate student there

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at that time, I was given a huge amount

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of work to do to try to get all this

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workshop working and run through everything. So we had

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people coming from all over uh to be able to

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get instruction how to integrate this technology in their teaching

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practices. I mean we had wonderful things like how

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to do a rubber cement li lift and how,

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you know putting uh you know, our thermal transparencies

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in one place. But then doing an ammonia dish.

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So we had places where we dropped these things

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into ammonia sensitive. I mean it was really weird.

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We had at that time we had 15 sections

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of photography. I mean four let's see. We

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had about eight dark rooms in this place. I

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mean it was this huge machine that was how to

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crank out people that know knew how to use the

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technology but it was a hospital internship uh type of

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environment because the athletic department the whole campus needed services

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also on how to do this. So you're the

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students were actively producing product for the university plus learning

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how to do it how to design for it.

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And my mentor was Howard levy who was trying to

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also tie in message designed of course and I got

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with Mac Fleming and Howard both. Um And so

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my eyes started opening up wider and then came you

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know a ec conventions or the conference. Well at

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that time that was I had a workshop that I

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thought was big. But then when we went to

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the A. C. T. Convention we had

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the whole Nava group there that was going to have

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all of the vendors from all over the world were

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presenting how their how they were going to be bringing

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on new technologies. And I said oh my gosh

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we're not even doing right with the ones we got

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how we gonna handle these new ones. And so

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uh presenting how we were using the technology and then

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going to the exhibits that were there was just a

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huge event every single year for all the students.

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So I started in 1966 going to A. C. T.

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Conferences. Um and I saw amazing

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things like our whole industry was kind of look like

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how do you make large signs? Well naturally use

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a rico uh and you've got a template and you

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can do that and I go to this conference and

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I see a robotic right Rajko maker and so you

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put it in there and this automatic thing draws the

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Rajkot stylists around and creates it. I said we're

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out of a job folks. We we've already you

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know it's already happening were being replaced by these robots.

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Little did I know about the computer industry coming

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down the pike that was going to replace an awful

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lot of the things that we do um Or that

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we had to be the ones now doing that instead

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of the other things. Um The thing that abc

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t. Became important in was the linkages to other

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universities and the networking because we met other people and

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found out that they were either doing the same thing

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we were doing or my gosh we're really leading the

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field in a lot of the things that are going

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on and uh that's when I started to be aware

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of the administration that was running abc at the time

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were mostly some indian university people that word and that's

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why it was called the indiana mafia that was,

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had a presence there and we were we were graduating

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the most students. Uh so it really became a

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partnership between A. E. C. T.

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And uh what what the field needed. Um And

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A. C. T. Was our tool our

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implementation to be able to spread the word on techniques,

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integration strategies, teaching strategies, all of these

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things. Um That that was going to be really

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having an impact on the U. S. Not

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only that some of the projects that we're working on,

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we were bringing in a lot of different foreign

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students to be able to get trained at iU and

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from Africa from Taiwan from the Thailand we had special

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arrangements with all of them, some of us would

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be going there and some of them we bring people

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there um as academia is um Change is always in

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the wind. So when the new president came in

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and found out that our uh educational library was generating

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about$1 million dollars a year uh that wasn't going

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into the university pool, then we ended up having

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to be split into our academic control and have that

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move over and ironically at about the same time that

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that was happening or a little bit before Nava was

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also splitting up. And so the conference itself then

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lost the Navajo exhibit and we just had the pedagogical

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uh stress. So it's been it's been an interesting

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path of kind of imploding in one area but then

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moving over and building up in another area uh and

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the struggle can still continues. Mhm. Um In

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terms of the of the evolution of A. C. T.

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Sort of talked about in the context

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of the indiana experience, what can you say more

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globally? You've had leadership positions in the, yes

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I've been um I've had I've been past president of

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the multimedia the media design and production division at that

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time I was involved in by being in that position.

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I was also working with uh the foundation and

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also the board at trying to look at uh what

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the role of divisions were and how fragmented the the

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divisions became all you know and and when we were

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into trying to own multi I keep saying multimedia production

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because I'm now on the board of the multimedia production

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division. So that's the new division that's come back

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up, that's replaced the old one. And I'm

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still I'm still not happy with the the sense of

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family that um that A. C. T.

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Has among its members. And I've I've always been

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one to stress that the process that we're dealing with

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is one of collaboration and integration and and and working

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together as a team. And I think that the

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divisions have a tendency to break that apart and to

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have just some um operation and focus just within the

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division and look at saying well the division next to

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me is not really doing the same thing that we're

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doing. But in reality if we ever get into

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the um business of creating something it takes every single

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division. If A. C. T. Itself

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was given the grant to produce something and then said

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okay now all you divisions need to work together in

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this process for doing the best what you'd be doing.

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I think it'd be hard to be able to

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get everybody to sit around the table. But if

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I go in the in the public sector as I

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then went on to produce films and industrial films and

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all other kinds of multi multi image projects of which

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nobody remembers what multi images anymore. Uh And as

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soon as I saw a Macintosh displayed I couldn't believe

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the graphic interface and how easy it was to do

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things. And then teachers became the ones doing it

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and all of a sudden we weren't the ones doing

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it. So it was it was it's been an

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interesting path. And A. C. T.

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Has had to really struggle with how do you support

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and encourage all of this because it's uh in a

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lot of cases there's not a lot of happy campers

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in one place or another. As the as the

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new thing shifts from one thing to the other.

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So I'd like to be able to work at a

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much more inter division collaboration. Uh And of course

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I've been working with all the old timers. Mendel

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Sherman, I've been working with uh he's in his

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nineties now and his um last conversation I had with

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him was which editors that I think we're best on

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the new digital stuff because he's making movies for his

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retirement community and uh you know, we don't stop,

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we just keep on going and I'm sure that's

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the case with a lot of us that are just

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so immersed in our own particular focus that we just

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want to keep on pushing. So that's good.

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And that's why this association is so important because uh

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there's a lot of knowledge collectively within this organization,

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all from the people that have been here before that

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say, yeah, that's a new media. So

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um why is it that I should say like for

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instance, the new thing is games and simulations that

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are out there. Well, we went through the

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process of film, would film, encourage and and

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make education better. Oh no, because video just

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came in, video is going to be the one

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that make everything better. And then every new media

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that comes online, every learning environment that does and

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we are one organization that is supposed to be able

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to see that it's not the media that's going to

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do it. It's still the darn good instruction and

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implementation of it, that's going to be whether it's

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a deciding factor, even clark and Kozma went on

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and on about that battle, but nobody took,

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nobody said it's what you do with the media that's

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important. Not the media Kozma was trying to say

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some of that stuff, but uh, you know,

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we we get caught up in these banters.

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Uh, but all the media studies that went on,

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they never talked about which media they talk.

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What was the attributes of the media And this is

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where where did message design go? I mean,

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that's what I grew up on with Mac and Howard

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levy and now where is message design in this whole

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process? Because it's a critical thing that makes it

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work. And then we are having now sort of

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an insurgence on just the word design. So there

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is a design process and, and we're trying to

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get a division called design division, you know,

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and everyone's kind of take that word and dropping it

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across what they're doing and I agree that we are

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all doing design. We just are working on different

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aspects of the process. And uh, if we

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talk to each other more and and bridge our thoughts

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and look at iterative models of development, um,

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that's something that this organization is going to be one

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to be able to support. And the way that

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I think that might be happening is that we are

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providing more showcases of actual product and cases that worked

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and when you go back and think about it.

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The only thing that we've had with our academic support

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has been publications and it's very difficult to look at

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any publication or study and really understand what that product

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look like that they're testing and what the implementation context

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was, what really happened during that. It's not

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documented. But if you document a case study rigorously

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enough you'll pick up some of that stuff. So

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both D. N. D. And media production

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division are having awards for the best case scenarios that

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they can show that learning occurred out of that.

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And so we are gonna have maybe a journal,

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a design journal, that's a case study journal.

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We're going to have these awards. So I could

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see in the future that A. C. T.

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Is going to have a place that you need

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to go to find out what's working and that would

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be. That's what I think the best case scenario

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would be because I don't see it happening in the

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site conferences and some of these others. Um and

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so maybe that's how we could be unique and stand

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out in the field, which is what it was

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always the problem as our ebbs and flows of money

349
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that have happened to hold things together. I feel

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us on a little growth spurt right now the wave

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is starting to swell and maybe even crest. So

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uh we've had good attendance at this conference and hopefully

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when people go back they'll say boy I really did

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learn a lot and they'll encourage everybody else to come

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back. Somebody surfing the web or told about

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A. C. T. Hits the site finds the

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history makers. And we have a series of little

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sound biting sort of remarks about why a new career

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professional or a gratitude should be interested in being involved

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in A. C. T. What I would

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say that it is that one time where you can

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talk, go to and meet um practitioners that are

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talking about the micro level analysis of the design process

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in whichever air either instructional strategies, context analysis,

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evaluation development, media production, implementation teaching. There

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are people here that are really doing it and talking

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about the difficulties uh of getting it done correctly.

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And um so that's a lot different from going to

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a conference where you have papers presented on studies,

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you don't get to talk to them and they usually

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don't go into the detail that's necessary. So uh

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networking here to actual people that are doing the same

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thing you're doing in another location. And that even

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is setting up collaboration uh is what I think is

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going to make a A. C. T.

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A real mecca to come to anything else you'd like

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to say well I don't know what my crystal ball

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is relatively foggy in terms of so much of the

379
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new technologies, the mobile technologies, the new students

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all of this stuff. I don't know that it's

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necessary for us to be responsible for making it work.

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Um for a number of reasons it's very complex

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and you can't get access to a lot of the

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things that you need to get access to to incorporated

385
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into your teaching. I think that um we are

386
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going to have to step back and look at things

387
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that are happening and really be maybe some leaders in

388
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suggesting possible combinations. Uh And the only reason that

389
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I say we need to step back is because I

390
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think the whole instructional design field is being challenged to

391
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be to flex and two we we have been having

392
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things which originally started with Dick and Carry model and

393
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then now we go to uh any of the other

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A C. T. S. Even the addie

395
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model is in is perceived initially as being a linear

396
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process. Linear processes are out the window. You

397
00:26:10.769 --> 00:26:14.000 A:middle L:90%
can't do it that way. So, how how

398
00:26:14.000 --> 00:26:18.059 A:middle L:90%
do you define what we do if we're taking an

399
00:26:18.059 --> 00:26:22.230 A:middle L:90%
iterative development model and I'm gonna start with evaluation initially

400
00:26:22.230 --> 00:26:26.119 A:middle L:90%
as being a linear process, linear processes are out

401
00:26:26.119 --> 00:26:29.660 A:middle L:90%
the window, you can't do it that way.

402
00:26:29.670 --> 00:26:33.680 A:middle L:90%
So how how do you define what we do if

403
00:26:33.690 --> 00:26:38.269 A:middle L:90%
we're taking an iterative development model and I'm gonna start

404
00:26:38.269 --> 00:26:44.900 A:middle L:90%
with evaluation and I spent a lot of time with

405
00:26:44.900 --> 00:26:47.829 A:middle L:90%
T. A. G since he's in indiana and

406
00:26:47.839 --> 00:26:52.450 A:middle L:90%
he is probably the the worst salesman for A.C.T.

407
00:26:52.450 --> 00:26:56.170 A:middle L:90%
Because he says you guys are all

408
00:26:56.180 --> 00:27:02.430 A:middle L:90%
going the wrong direction. Um And his point is

409
00:27:02.440 --> 00:27:06.809 A:middle L:90%
that uh we're not paying attention to the news types

410
00:27:06.809 --> 00:27:11.390 A:middle L:90%
of students and the fact that we're trying to uh

411
00:27:11.400 --> 00:27:15.279 A:middle L:90%
codify the process too closely, We're trying to say

412
00:27:15.279 --> 00:27:18.460 A:middle L:90%
this is this is the formula as if this whole

413
00:27:18.460 --> 00:27:22.119 A:middle L:90%
process we're in is the science and if you do

414
00:27:22.119 --> 00:27:25.440 A:middle L:90%
these things this way is going to work. So

415
00:27:26.259 --> 00:27:30.509 A:middle L:90%
we need to be able to look at the field

416
00:27:30.519 --> 00:27:33.200 A:middle L:90%
and start acting ourselves as if we are going to

417
00:27:33.200 --> 00:27:38.119 A:middle L:90%
be adaptive and flexible and dynamic and not hold on

418
00:27:38.119 --> 00:27:42.970 A:middle L:90%
to a lot of the older paradigms and be able

419
00:27:42.970 --> 00:27:48.039 A:middle L:90%
to really start getting into that very uncomfortable area of

420
00:27:48.430 --> 00:27:52.420 A:middle L:90%
talking to students and finding out where they're coming from

421
00:27:52.420 --> 00:27:56.200 A:middle L:90%
and not just saying to our students this is the

422
00:27:56.200 --> 00:28:00.099 A:middle L:90%
way you gotta do it. Um And my last

423
00:28:00.099 --> 00:28:06.009 A:middle L:90%
example would be if you take a gamer they die

424
00:28:06.019 --> 00:28:11.190 A:middle L:90%
and they address failure 100 times during every single game

425
00:28:11.200 --> 00:28:15.269 A:middle L:90%
session. But our paradigm of teaching has always been

426
00:28:15.269 --> 00:28:19.700 A:middle L:90%
flipped is to avoid failure at all costs in our

427
00:28:19.700 --> 00:28:22.230 A:middle L:90%
teaching. If your students are failing, you obviously

428
00:28:22.230 --> 00:28:26.009 A:middle L:90%
are not doing a good job teaching, which means

429
00:28:26.009 --> 00:28:27.609 A:middle L:90%
that the only alternative you have is to front load

430
00:28:27.609 --> 00:28:32.829 A:middle L:90%
instruction with all the stuff that is so boring to

431
00:28:32.829 --> 00:28:36.259 A:middle L:90%
these students and they they want to just get in

432
00:28:36.259 --> 00:28:38.410 A:middle L:90%
and manipulate the variables and they said but you can't

433
00:28:38.410 --> 00:28:41.029 A:middle L:90%
do that you're not, you're gonna fail, you

434
00:28:41.029 --> 00:28:42.009 A:middle L:90%
know, a couple of them and they say cool

435
00:28:42.019 --> 00:28:45.769 A:middle L:90%
I'll learn from that now. So if we say

436
00:28:45.769 --> 00:28:48.920 A:middle L:90%
we need to flip around our whole instructional process to

437
00:28:48.920 --> 00:28:52.140 A:middle L:90%
where we give the manipulable and we do coaching along

438
00:28:52.140 --> 00:28:55.660 A:middle L:90%
the way and then we do reflection and we do

439
00:28:55.660 --> 00:28:59.150 A:middle L:90%
all kinds of things like that. We're also going

440
00:28:59.150 --> 00:29:03.509 A:middle L:90%
to have to change instructional design to be a lot

441
00:29:03.509 --> 00:29:07.799 A:middle L:90%
more adaptive and that whole process and to the extent

442
00:29:07.799 --> 00:29:10.960 A:middle L:90%
that that's going to bounce off of A. C. T.

443
00:29:10.960 --> 00:29:12.220 A:middle L:90%
And what we call as far as

444
00:29:12.220 --> 00:29:17.900 A:middle L:90%
divisions that are based on that sort of linear model.

445
00:29:17.910 --> 00:29:22.799 A:middle L:90%
Um We need to just challenge that and just

446
00:29:22.799 --> 00:29:25.579 A:middle L:90%
let other things kind of starting to emerge and fall

447
00:29:25.579 --> 00:29:27.160 A:middle L:90%
away. So I certainly don't think A. C. T.

448
00:29:27.160 --> 00:29:29.829 A:middle L:90%
Is going to be static for a

449
00:29:29.829 --> 00:29:32.710 A:middle L:90%
while. I think it's gonna be pretty dynamic in

450
00:29:32.710 --> 00:29:37.190 A:middle L:90%
terms of change both organization. But I really believe

451
00:29:37.190 --> 00:29:38.680 A:middle L:90%
that A. C. T. Is going to uh see

452
00:29:38.680 --> 00:29:42.210 A:middle L:90%
the handwriting on the wall and start adapting.

