WEBVTT

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Yeah, for the scale of classroom Wait Proper and

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meat and price. So to do as we say

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in church for me to walk around a bit and

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reinforce the idea that while there are folks voices today

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expertise and authority within the environment, there's not necessarily

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just one from very pleased as someone walking around.

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And what I now understand is the catwalk within the

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scallop classroom to introduce this afternoon Speaker. And I

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just want to say before you started Thank you.

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Yeah, yeah, yeah. Thank you. I

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work. Yeah. Uh huh. At any rate

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, truly thank you for being here today. We

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were snowed out last and now spring once again for

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at least the next 24 hours. Perhaps I haven't

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looked at the weather lately. In the last,

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I hope that I have a I hope the distinguished

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innovator in residence program is third interest. Well,

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here last year Uh huh. About this time on

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the ground, then Cameron Kneeland came last fall,

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now our third in Russia. Murray, think this

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is a program that represents a partnership forged between human

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libraries, university libraries and learning technologies became clear shortly

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after I got here. That We had very good

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Qadri of folks who are and fresh ideas and do

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tag, Line says. But perhaps is honored in

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the breach, sometimes inventing the future. And when

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the libraries and learning technology together and our friends get

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together okay, actually believe we're doing other, then

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why not have and our home inspire us to bring

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fresh ideas and most of all, an example of

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perseverance? Because, as I understand it, innovation

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always welcomed with wide open arms. And oh,

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please come invent the future for us, really,

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it's a little harder than that, but today we

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are very. Murray, who has persevered through at

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least three or four iterations future and is unrepentant,

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has not slowed anything. Her pace is faster and

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even more visionary, like it is began. Dr

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. Murray is at Georgia Tech now to work on

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bidding wars now to see if we can't get it

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up here more often and for even longer has recently

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joined the administration, proving that her perseverance and innovation

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truly knows no about all over to what I was

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told. You're welcome, um, innovation to the

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structure of the associate, deeper research and liberal arts

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. Mhm is also a program inventor, an educator

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in correct. Later, in the very idea of

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what it is I wanted to share with the words

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I find particular moving realize I had left her book

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in my backpack in the car. And then I

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realized you to her influence on my own work and

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are important. No, would be simply to read

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it off of my latest publication because at every single

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opportunity I try to quote mhm, we are pitching

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the ideas at the appropriate level. Here's what it's

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in inventing the media. Her introduction to the new

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media reader Janet Murray writes quote the task is the

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same now as it ever has. Familiar. Thrilling

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, unavoidable. We work with all our myriad talents

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to expand our media of expression to the full measure

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. Sorry, very pleased to someone who has expanded

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all of our Coleman with her. And thank you

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. Thank you, Carla, for that very generous

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introduction and for the inspiration of spending these days.

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But there it's been really very, um I can't

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say that you haven't worked me constantly. Uh,

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but, uh, it's been very nourishing to me

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, uh, to to be part of all of

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the exploration in this community. Uh, and I'm

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very touched that so many of you who have already

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listened to me enough are here again. And,

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um uh, and that you're here at this hour

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on Friday. Uh, and as I say,

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I'm sure that that is yet another testimony to your

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incredible gifts of community making with a really impressive and

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inspiring to say, Um, so I'm gonna talk

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about some of the ideas that are at the heart

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of my, um, latest book and that I

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touched on and Hamlet on the Holodeck. I,

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um and that I've been I've been obsessing on since

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I came to Georgia Tech in 99 uh, to

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, uh, join, uh, the, uh

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, graduate program, which was then an information design

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and technology and which is now, uh, called

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digital Media and which I have brought some propaganda about

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which, And I hope you will help me to

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recruit your wonderful students to this program because we have

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not yet had a graduate of Virginia Tech, uh

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, in our program, and I think that's a

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big gap. Um, so we have a master's

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degree and a PhD. Okay, So what is

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the design of digital media. So it is not

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what is it not? It is not designing a

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toaster. We design a toaster. We understand what

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toast is. We understand the components of a toaster

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, and what we're doing is introducing maybe a new

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, uh, material like ceramics or where, uh

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, we're refining and existing accordance, Like, make

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the slot big enough for bagels. Or maybe we're

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doing a playful artistic version of a toaster where it

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becomes a projectile toaster. This is sort of the

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Y chromosome toaster. I guess you have a target

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aiming at the target. So, uh, you

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and of course, in addition to the ceramics,

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there is this kind of decorative stuff that you could

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do with the toast, but pretty much we figured

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out toast. We figured out toasters, and we're

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just gonna optimize it. And we know how to

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evaluate it as a toast. Is it not that

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it burn. Right. So, um, okay

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, but what does it mean to invent something out

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of bits? What does it mean for Douglas Angle

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Bar to invent the mouse? Nobody had any specs

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for a mouse. Nobody had any idea of why

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anybody should want to direct a cursor on a screen

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, uh, to do word processing that we had

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the the notion of word processing, Uh, let

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alone of a system of networked information that was going

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to expand human cognition and human efficiency. Um,

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this is according keyboard that was So this is this

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is a This is from the patent information that goes

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with the what we call the mother of all demos

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, which I hope that you have all seen or

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will not look that up on YouTube, which is

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Douglas Englebart inventing the modern computer before Xerox parc and

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before Steve Jobs. Uh oh. Nobody's written a

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glamorous biography of him. Yeah, um, and

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in part because he's still a lot, I thought

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we nobody there was. There's no specs for that

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. When you go to invent it, there's when

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you go to reinvent the magazine because all of a

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sudden we realized that that we never knew we wanted

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a tablet. We can't live without a tablet,

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it turns out, And though we thought the newspaper

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and the magazine was dead, in fact, we

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really need to read those newspapers and magazines on that

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tablet. So how are we going to evaluate it

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. They certainly aren't the same as those old things

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. Um, And then, uh what? A

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lot of people had made MP three players before Steve

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Jobs came up with the iPod and with iTunes,

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but they hadn't rethought the whole business and the whole

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social ritual of buying and selling music. Uh,

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so how do you think about approaching that design problem

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or training people as we do in my program to

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and as my book tries to make available for other

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programs to do, to invent things that we don't

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know what they are yet and we don't know how

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to judge them? How would we know if they're

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a good one? Luckily, I can tell you

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first, let me tell you what I mean by

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radically humanistic in my town. So I said,

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the way to think about it is we have to

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think about it a radically humanistic way. So we

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have to first locate the job of making media objects

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as a cultural enterprise and think about culture as our

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collective effort to maximize the well being of one another

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, um, and to pursue expanded expression and expanded

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knowledge for their own sake. Uh, And so

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this is the ethos of the Renaissance humanist. But

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it's also the esos of the Wikipedia. Ian's right

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is that it's good because we're all working together.

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Um, and we are open about knowledge, and

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we're finding sources of knowledge, and we find them

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. We're not gonna worry if they've been validated by

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a religious body or by other forms of orthodoxy.

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We're going to share them. Um, and we're

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going to negotiate. What is what is the commonly

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accepted knowledge, uh, that we that is worth

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sharing. Okay, um, so thinking about culture

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that way and about the, uh, the media

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as part of this cultural enterprise and media, as

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McEwen called it in its widest sense, the extensions

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of man It should have said of humans, but

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19 sixties 1950. So the extensions of those they

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extend our humanity, um, and so media are

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every every medium of representation that we have developed over

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the ages is a way of having shared expression and

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shared knowledge. And each time we invent a new

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one, we can expand what we can express about

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our individual experiences and our tribal experiences, and how

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far we can share it And what? How far

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and how, um how precisely and how, uh

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in what detail we can collect and share knowledge.

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Um, And this picture there is a uniform,

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uh, text from the earliest evolution of writing.

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Okay, So thinking about media theories there are there

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are several ways that are useful in thinking about them

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. And, um, I'm gonna These are the

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ones that we're familiar with in that that are useful

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for thinking about media. But I want to also

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add a new one to it. So we think

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about it in the Shannon and Weaver way. What

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is the media? It's a way of sending a

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message across from a sender to receiver, decoding it

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in a way and decoding it and worrying whether how

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the signal, uh, is transmitted. How much

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? Nowhere. How much is noise? How much

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A signal. How how faithful it is to the

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original composition of the message. So that doesn't answer

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the question of what is a message. And how

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does it mean? So for that, we have

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semiotics, uh, where we think about how we

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establish a third object that we negotiate the meaning for

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and that we can be meaningful in different ways.

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It can be meaningful. As you point to something

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. It could be meaningful by its connotations. We

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know that meaning is very complex and culturally determined.

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So that's another way of thinking about it. Media

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is a place in which we we add layer,

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negotiate the meaning of our symbol systems and or a

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place where we transmit symbols. Uh, we can

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think about them as angle barred and McLuhan does as

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part of the general technologies of human culture so similar

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to transportation, McLuhan says. When we get a

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railroad, our feet are extended. When we get

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, uh, a written technology for writing, our

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voice is extended that we have this human being,

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and then we invent gizmos that are sort of like

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prostheses, uh, to extend our reach. Uh

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, and then we could think about media as ways

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of, uh, inscribing and, uh, performing

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power relationships. So one might think that the Trekkies

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are, uh, controlled by an evil capitalist,

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you know, uniform. Uh uh, system.

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Or one might think, was Henry Jenkins that they

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, the people who are appropriating mass media uh,

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symbol systems are in fact poaching them and making different

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meanings out of them. Uh, so we could

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talk about what the power relations and people who talk

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about mass media often are talking about their. So

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and And if you look at media theories, I

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would say they pretty much fall into these categories.

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If you find some other categories that I've left out

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, I would be interested to know them. I

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want to propose another way of thinking about it.

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That's that is concrete that exists along these. All

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these aren't either or and this is another one.

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And it's one that's been really useful for me,

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and that is that media are a way of focusing

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our shared attention. Uh, and so let me

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tell you what I mean by that. So,

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um, so I'm getting this from two theories.

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So the first one is Michael Thomas, Ella,

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and neither of them actually talk. Uh, well

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, Thomas l doesn't talk about media. They get

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the next government mentioned. Does talk about media.

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Um, uh, Thomas. Several studies, developmental

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cognition. And he tries. He's, uh,

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working at the boundaries of primate intelligence, trying to

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figure out where our our our ape cousins and where

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are we? And and One of the things that

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is crucial, it seems in human development is a

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moment that we've all observed with babies between six and

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nine months. When they point at something and they

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expect to direct your attention to it. And once

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they can do that, they are ready for symbolic

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communication. Because if you both know you're pointing at

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the bottle and you say bottle and the baby can

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start to say Baba, then you begin to associate

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the sound with the thing and we've got language.

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Uh, and there must have been some moment in

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human culture that corresponds to this and and I have

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a theory and I've talked about it elsewhere, and

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I can talk about it. Uh, today I

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might have it on the slide here, which is

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that games are our our our the the human races

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way of creating situations of shared, limited focus of

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this joint. Attentional seen that is the prerequisite to

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symbolic communications. And so that. And it's because

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the game involved and I have this picture of Let's

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see, yeah of, um yeah, I do

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have a slide of of of of knuckle bones.

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This is this is a Roman, uh, era

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picture. But knuckleball, not the bones of animals

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, were an early medium of symbolic communications and games

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. And then we first for auguring, you know

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, for for telling the future, uh, and

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then for gambling type games like dice. They're kind

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of dice. So and here is it's I like

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this because it's two women playing neck bones. So

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they're sitting there, and it's sort of I think

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this is an iconic game where you have a game

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board or a limited, uh, field of interest

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there, just looking at the same area. They

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have these limited objects to think about. The objects

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have certain meaningful states they can be in, and

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they share a sense of what those states mean,

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and they are also turn taking. So you can

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see in the ability to do this some of the

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building blocks of human culture, ability to synchronize activity

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, the ability to take turns, the ability to

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know that somebody else's actions have intentionality and and are

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part of a sequence of actions that's meaningful. And

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all of these things maybe not knuckle bones, but

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definitely gestural coordination. Um, I often think of

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ring around the rosy as an example of this kind

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. Although that rhyme is much later in human culture

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, people were probably holding hands and marching around much

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earlier and that that that, uh, proceeds And

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this I got from Donald Merlin. Um, I

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always get confused. Merlin Donald, Right? Merlin

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. Donald. So, uh, Thomas Hello And

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Marilyn Donald, The two, uh, evolutionary,

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uh uh, And developmental cognitive scientists that I'm basing

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this idea on, um, that, uh,

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that he was from him that I learned that games

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precede language. And this was very meaningful to me

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, because when I published Hamlet on a holiday,

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Jack, I got attacked. I always say that

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I got attacked by the nation of Finland, but

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it was actually a subset of the nation of Finland

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. I It was a group of young men in

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Finland, particularly in Nordic countries, Who but the

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fins were the rudest, um, who were,

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uh, who saw me as a useful straw woman

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. I think the gender was not irrelevant, uh

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, to attack in in their struggle to differentiate game

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studies from narrative studies. So in Europe, games

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were held in this evil to them hegemony of narrow

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tautology. And they wanted to say something that was

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true, which was that games were their own form

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and did not have to be validated by narrative.

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Now I had written a book about the possibilities of

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narrative, and I had talked about some games as

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narratives. And so, uh, so they they

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used that as a as a springboard to say all

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wrong. You know, Why is she contaminating this

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beautiful thing of games which they with these evil ideas

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of narrative? Um, their arguments were faulty in

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a lot of different ways, and I enjoyed teasing

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them about it for years at conferences, but but

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that that only. But I'm grateful to them,

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if only because they sort of primed me for this

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revelation that that games and have this very early place

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in human cognition and actually a Merlin Donald Michael Thomas

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selling never mentioned games. But whenever they want to

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describe the difference between a bonobo say and human,

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they talk about some experiment they did with the game

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. Um, so and they talk about, um

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and and so Merlin. Donald talks about the stages

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in human cognitive development and where media fit and so

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so moving from games as a medium and gesture as

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a medium thinking about language, which is the,

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uh, the most important human making technology media we

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have. Um he, uh, describes it,

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uh, as focusing our minds in a way that

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we can share. So I'm not going to read

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this to you since you can read it for yourself

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. Or maybe I should read it for the so

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I'll read it for the tape. So words and

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sentences focus our attention. They elevate our awareness of

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whatever they specify. But moreover, when stories and

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ideas that juxtapose so that their meanings collide, they

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can shift our focus to new semantic spaces. In

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a word, languages clarify the experienced world. So

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a medium changes our cognitive abilities. So we have

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experience, but we can't sort it out into pieces

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. We can't focus on it individually. We can't

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clarify its qualities without a medium in which to represent

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it. And language is the most plastic and the

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most expressive of these, uh, human, uh

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, for dances. And so the brain co evolved

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with in this view of evolution, uh, with

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our, uh, our media and our culture and

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our cognition co evolve that we get smarter as we

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invent these media and culture changes as we invent them

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and one ratchets up the other. Okay, so

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each of these media, from from just the ability

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to write and record and to look at how this

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, uh, uniform tablet has been divided, I

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think this is a commercial tablet and and there's,

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uh, things that are being bought and sold,

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or or, uh, inventory in some way.

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And the different shapes represent different kinds of items,

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and the the points may represent quantities of those items

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that we can We can summarize experience and order it

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and make comparisons between it in a way that we

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couldn't without that medium. Um, and this is

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, um uh, writing. Uh, And,

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um, this is the Rosetta Stone. And this

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is our new means of inscription, which is very

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blank, which is just those circuits, those bits

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, But not just a bit. The bits plus

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the human invention of the of the electrical impulses representing

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zeros and ones, which gives it this enormous plasticity

387
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. Uh, and that gives us an ability to

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describe the world that contains these and other primitive,

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you know, preceding media. Uh, and that

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increases the capacity with which we can describe. So

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, um so what is it about the medium?

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And And I talked about this at length. I've

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talked about it, uh, first in 1997 and

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Hamlet on the holiday. And I wrote in chapter

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three I That was I when I was trying to

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answer the question. Hamlin on holiday. Uh,

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is this really a literary medium? Do I really

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believe what I've been saying? Can I really prove

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what I've been saying and and acting on since I

400
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had this this moment of awakening in the early eighties

401
00:28:06.799 --> 00:28:10.269 A:middle L:90%
that this was a beginning of a medium for telling

402
00:28:10.269 --> 00:28:14.569 A:middle L:90%
stories? How would I know if it is a

403
00:28:14.569 --> 00:28:19.750 A:middle L:90%
medium like writing, like language like film? Uh

404
00:28:19.759 --> 00:28:23.210 A:middle L:90%
, and I thought about film and how it's different

405
00:28:23.220 --> 00:28:27.779 A:middle L:90%
to fall from just photographing a play that making a

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00:28:27.779 --> 00:28:32.359 A:middle L:90%
movie has what we often call the language of film

407
00:28:32.359 --> 00:28:33.740 A:middle L:90%
. And the language of film comes to the materiality

408
00:28:33.740 --> 00:28:36.640 A:middle L:90%
of the film. And it comes from the fact

409
00:28:36.640 --> 00:28:40.859 A:middle L:90%
that you can change the lens, and you can

410
00:28:40.869 --> 00:28:45.000 A:middle L:90%
, um uh you can splice the film and you

411
00:28:45.000 --> 00:28:48.170 A:middle L:90%
can assemble it differently. So how would what are

412
00:28:48.170 --> 00:28:51.420 A:middle L:90%
So I said to myself, What are the afford

413
00:28:51.420 --> 00:28:57.529 A:middle L:90%
? Ince's for representing the world that are characteristic of

414
00:28:57.539 --> 00:29:03.680 A:middle L:90%
computation. And so Chapter three I identified them and

415
00:29:03.680 --> 00:29:06.559 A:middle L:90%
then and then I went. I took that insight

416
00:29:06.940 --> 00:29:11.599 A:middle L:90%
back into my design experience, whereas making leading projects

417
00:29:11.599 --> 00:29:15.230 A:middle L:90%
making various kinds of educational applications at MIT. And

418
00:29:15.230 --> 00:29:18.890 A:middle L:90%
I realized that it helped me to, uh,

419
00:29:18.900 --> 00:29:23.789 A:middle L:90%
to assert the prey, the design priorities really clearly

420
00:29:23.789 --> 00:29:29.220 A:middle L:90%
where otherwise I'd be stuck between a filmmaker who would

421
00:29:29.220 --> 00:29:32.299 A:middle L:90%
say no in order to make a good video,

422
00:29:32.299 --> 00:29:34.579 A:middle L:90%
we need this and a graphic designer who would say

423
00:29:34.579 --> 00:29:40.630 A:middle L:90%
no in order to make a good visual display.

424
00:29:40.630 --> 00:29:44.369 A:middle L:90%
We need this. And then the interaction design wasn't

425
00:29:44.380 --> 00:29:48.549 A:middle L:90%
particularly clear at that point. So I realized that

426
00:29:48.549 --> 00:29:53.130 A:middle L:90%
what what the collective enterprise was was maximizing these afford

427
00:29:53.130 --> 00:29:57.210 A:middle L:90%
Ince's that were specific to computation, that we can

428
00:29:57.210 --> 00:30:03.400 A:middle L:90%
represent the world as procedures and that that was unique

429
00:30:03.410 --> 00:30:07.799 A:middle L:90%
to computation and that we make not just space that

430
00:30:07.799 --> 00:30:11.339 A:middle L:90%
you can draw but space that you can navigate and

431
00:30:11.339 --> 00:30:15.140 A:middle L:90%
move through whether it's an information space or a virtual

432
00:30:15.140 --> 00:30:19.539 A:middle L:90%
world, um, and that the objects are open

433
00:30:19.539 --> 00:30:25.099 A:middle L:90%
to our participation participation. It's not just the social

434
00:30:25.099 --> 00:30:29.599 A:middle L:90%
media participation. But it's also the fact that anything

435
00:30:29.599 --> 00:30:32.809 A:middle L:90%
on the screen is something we feel we can manipulate

436
00:30:32.809 --> 00:30:36.380 A:middle L:90%
. We expect to be able to manipulate and then

437
00:30:36.390 --> 00:30:41.519 A:middle L:90%
the incredible, uh, capacity of digital media.

438
00:30:41.529 --> 00:30:44.769 A:middle L:90%
So these are the four media. So, uh

439
00:30:44.769 --> 00:30:45.220 A:middle L:90%
, and then when I went to Georgia Tech and

440
00:30:45.220 --> 00:30:51.680 A:middle L:90%
started teaching design specifically, I developed this notion that

441
00:30:51.680 --> 00:30:56.059 A:middle L:90%
there's a grid and that you can think of any

442
00:30:56.059 --> 00:31:00.109 A:middle L:90%
object in a digital media space is. Obviously they're

443
00:31:00.109 --> 00:31:03.079 A:middle L:90%
all somewhere in the middle and lot, leaning over

444
00:31:03.079 --> 00:31:07.410 A:middle L:90%
in different ways. But some of them are more

445
00:31:07.420 --> 00:31:10.789 A:middle L:90%
in these different spaces. So a game engine or

446
00:31:10.789 --> 00:31:15.130 A:middle L:90%
search engine is making use of the procedural power of

447
00:31:15.130 --> 00:31:19.890 A:middle L:90%
the computer. And a GPS device or a large

448
00:31:19.890 --> 00:31:25.759 A:middle L:90%
information space or maps are making use of the spatial

449
00:31:25.769 --> 00:31:29.400 A:middle L:90%
, um, afford since, um, and,

450
00:31:29.410 --> 00:31:34.839 A:middle L:90%
uh, blogs and recommendation systems that take information from

451
00:31:34.849 --> 00:31:38.059 A:middle L:90%
other users and then offer to you are making use

452
00:31:38.059 --> 00:31:44.670 A:middle L:90%
of the participatory afforded and then all of these large

453
00:31:44.710 --> 00:31:51.109 A:middle L:90%
information repositories and resources like Wikipedia and YouTube. They're

454
00:31:51.109 --> 00:31:53.730 A:middle L:90%
making use of, uh, in part of this

455
00:31:53.730 --> 00:31:57.049 A:middle L:90%
encyclopedia. It is an encyclopedic media. Now,

456
00:31:57.059 --> 00:32:01.559 A:middle L:90%
I would say that these two are the core.

457
00:32:01.740 --> 00:32:06.759 A:middle L:90%
A Florence is that the spatial comes from the procedural

458
00:32:06.759 --> 00:32:12.150 A:middle L:90%
and the participatory, and that the encyclopedic that other

459
00:32:12.150 --> 00:32:15.059 A:middle L:90%
things are encyclopedia. But these are this is capacity

460
00:32:15.059 --> 00:32:17.809 A:middle L:90%
is exponentially more than, say, print in which

461
00:32:17.809 --> 00:32:21.759 A:middle L:90%
we had learned to make encyclopedias. For instance,

462
00:32:22.240 --> 00:32:28.710 A:middle L:90%
Um, but each of these afford Ince's awaken expectations

463
00:32:28.710 --> 00:32:31.420 A:middle L:90%
and users so that whenever we have anything digital in

464
00:32:31.420 --> 00:32:37.759 A:middle L:90%
our hands, we think it's more covers more then

465
00:32:37.759 --> 00:32:40.400 A:middle L:90%
it may. We think it's going to cover everything

466
00:32:40.410 --> 00:32:43.740 A:middle L:90%
. We think it's going to do everything we think

467
00:32:43.740 --> 00:32:46.049 A:middle L:90%
we're gonna be able to manipulate things. We think

468
00:32:46.049 --> 00:32:51.859 A:middle L:90%
that it's going to be organized and spatially. And

469
00:32:51.869 --> 00:32:55.460 A:middle L:90%
as designers, we need to observe those conventions and

470
00:32:55.740 --> 00:33:00.759 A:middle L:90%
and refine them and develop them in order to make

471
00:33:00.769 --> 00:33:06.180 A:middle L:90%
the the interaction satisfying and in order to keep the

472
00:33:06.180 --> 00:33:09.390 A:middle L:90%
medium maturing. Uh, because it's right now,

473
00:33:09.390 --> 00:33:12.690 A:middle L:90%
as we know, every time something breaks, which

474
00:33:12.690 --> 00:33:16.029 A:middle L:90%
is every day it or or disappoints us, then

475
00:33:16.029 --> 00:33:19.440 A:middle L:90%
we know it's not. It's not there yet.

476
00:33:19.450 --> 00:33:22.500 A:middle L:90%
Um, but we sense the possibilities. So how

477
00:33:22.500 --> 00:33:28.069 A:middle L:90%
do we think about different, uh, existing artifacts

478
00:33:28.069 --> 00:33:29.440 A:middle L:90%
on this grid? And in my book, have

479
00:33:29.440 --> 00:33:30.660 A:middle L:90%
a lot of them, but a lot of things

480
00:33:30.660 --> 00:33:32.059 A:middle L:90%
. I just have one here. So Google to

481
00:33:32.059 --> 00:33:36.000 A:middle L:90%
think about Google when it was just a search engine

482
00:33:36.000 --> 00:33:37.740 A:middle L:90%
. Why did it blow everything else out of the

483
00:33:37.740 --> 00:33:42.769 A:middle L:90%
water? Because it understood what a computer was.

484
00:33:42.779 --> 00:33:46.730 A:middle L:90%
And it used the coding power of the computer to

485
00:33:46.730 --> 00:33:52.910 A:middle L:90%
do better searching. Uh, and it recognized that

486
00:33:52.910 --> 00:33:57.319 A:middle L:90%
it could control these encyclopedic reason. It didn't say

487
00:33:57.319 --> 00:33:59.670 A:middle L:90%
this is too much. These are too many.

488
00:33:59.839 --> 00:34:01.140 A:middle L:90%
How many people can we get in a room to

489
00:34:01.140 --> 00:34:06.549 A:middle L:90%
label it? It they it united this and it

490
00:34:06.549 --> 00:34:09.559 A:middle L:90%
did it by exploiting the participatory should be down a

491
00:34:09.559 --> 00:34:12.800 A:middle L:90%
little more because it was it was pretty lame,

492
00:34:12.800 --> 00:34:15.829 A:middle L:90%
especially at the beginning, but, uh, by

493
00:34:15.840 --> 00:34:22.280 A:middle L:90%
But it was brilliant in participatory, uh, wisdom

494
00:34:22.289 --> 00:34:27.599 A:middle L:90%
in that they recognized that a link that what people

495
00:34:27.599 --> 00:34:31.389 A:middle L:90%
wrote when they linked to something was actually an annotation

496
00:34:31.400 --> 00:34:36.860 A:middle L:90%
of what that thing was and that some people were

497
00:34:36.860 --> 00:34:42.320 A:middle L:90%
more reliable than others as annotators. So they recognized

498
00:34:42.329 --> 00:34:46.349 A:middle L:90%
that they had a cultural product in the web,

499
00:34:46.360 --> 00:34:53.469 A:middle L:90%
and then they exploited that those cultural, uh uh

500
00:34:54.139 --> 00:34:58.670 A:middle L:90%
uh, that cultural value that people had put in

501
00:34:58.670 --> 00:35:02.130 A:middle L:90%
it, But with language. Okay, so but

502
00:35:02.130 --> 00:35:06.429 A:middle L:90%
here is where Google was, you know, after

503
00:35:06.429 --> 00:35:10.760 A:middle L:90%
even, uh, five years even, um,

504
00:35:12.539 --> 00:35:15.900 A:middle L:90%
that it got more and more developed the rest of

505
00:35:15.900 --> 00:35:19.170 A:middle L:90%
the grid. Uh, and you can think of

506
00:35:19.170 --> 00:35:22.659 A:middle L:90%
a lot of things this way in terms of opportunities

507
00:35:22.659 --> 00:35:28.429 A:middle L:90%
for entrepreneurship or for new inventions that there are areas

508
00:35:28.429 --> 00:35:30.369 A:middle L:90%
where we are, Um, like, people could

509
00:35:30.369 --> 00:35:32.260 A:middle L:90%
I've often used Flick. I think I did use

510
00:35:32.260 --> 00:35:34.980 A:middle L:90%
Flicker in my book. And then you can see

511
00:35:34.980 --> 00:35:39.289 A:middle L:90%
how instagram uh, expanded where the areas that flicker

512
00:35:39.300 --> 00:35:42.440 A:middle L:90%
did not cover it, and it was just did

513
00:35:42.440 --> 00:35:45.829 A:middle L:90%
much better, Uh, with the participatory, um

514
00:35:45.829 --> 00:35:51.940 A:middle L:90%
And, um uh, and the hashtags really gave

515
00:35:51.940 --> 00:35:57.469 A:middle L:90%
it much more, uh, encyclopedic power and organization

516
00:35:58.340 --> 00:36:04.980 A:middle L:90%
. Um okay, so, um uh, so

517
00:36:04.989 --> 00:36:07.369 A:middle L:90%
So how do we get into the frame of mind

518
00:36:07.380 --> 00:36:15.909 A:middle L:90%
that allows us to see this possibility space? Um

519
00:36:15.920 --> 00:36:22.530 A:middle L:90%
and I So I, um I'm offering a design

520
00:36:22.530 --> 00:36:25.630 A:middle L:90%
process that I think works for any digital artifacts.

521
00:36:25.630 --> 00:36:30.510 A:middle L:90%
So it works with whatever you're designing, and that

522
00:36:30.519 --> 00:36:34.920 A:middle L:90%
is to step back and ask yourself, What is

523
00:36:34.920 --> 00:36:40.829 A:middle L:90%
the core activity that is abstracted away from any particular

524
00:36:40.840 --> 00:36:45.150 A:middle L:90%
media? Uh, in Stan shih ation of it

525
00:36:45.159 --> 00:36:46.139 A:middle L:90%
. So some of you are in an earlier talk

526
00:36:46.139 --> 00:36:49.750 A:middle L:90%
again, where I talked about the very old room

527
00:36:49.760 --> 00:36:53.099 A:middle L:90%
, uh, editions of Shakespeare that scholars create and

528
00:36:53.099 --> 00:36:58.519 A:middle L:90%
how people get fetishized on the book as this the

529
00:36:58.519 --> 00:37:02.039 A:middle L:90%
where you put the Vario of information even though it

530
00:37:02.050 --> 00:37:06.039 A:middle L:90%
is the page of a book is a very poor

531
00:37:06.530 --> 00:37:10.539 A:middle L:90%
, uh, container for information that maybe maybe this

532
00:37:10.539 --> 00:37:15.929 A:middle L:90%
much information for one line of Shakespearean text. So

533
00:37:15.940 --> 00:37:16.780 A:middle L:90%
attorney, and sometimes you have to go back and

534
00:37:16.780 --> 00:37:21.159 A:middle L:90%
forth and you have to put the information in in

535
00:37:21.159 --> 00:37:24.570 A:middle L:90%
Terran with a cryptic abbreviations. Yes, as you

536
00:37:24.570 --> 00:37:27.650 A:middle L:90%
said. But what is a very all room?

537
00:37:27.829 --> 00:37:31.289 A:middle L:90%
What is it that we're trying to, uh convey

538
00:37:31.289 --> 00:37:34.889 A:middle L:90%
? When we look at a play as the sum

539
00:37:34.889 --> 00:37:37.260 A:middle L:90%
of all of its additions, we tell people the

540
00:37:37.260 --> 00:37:38.269 A:middle L:90%
differences. And when we look at the play,

541
00:37:38.280 --> 00:37:42.860 A:middle L:90%
is that some of the most interesting commentary upon it

542
00:37:42.860 --> 00:37:45.780 A:middle L:90%
? And we have to explain different lines. What

543
00:37:45.780 --> 00:37:50.199 A:middle L:90%
is that task and how would we use the afford

544
00:37:50.199 --> 00:37:53.920 A:middle L:90%
Ince's of the digital medium to do that task better

545
00:37:53.929 --> 00:38:00.570 A:middle L:90%
So that really very simple recipe, but it's very

546
00:38:00.570 --> 00:38:06.559 A:middle L:90%
hard to do it because we're very tied to our

547
00:38:06.570 --> 00:38:09.920 A:middle L:90%
print based conventions, Uh, and those are the

548
00:38:09.920 --> 00:38:13.809 A:middle L:90%
ones that validate us. And so for. And

549
00:38:13.809 --> 00:38:15.110 A:middle L:90%
I want to take two examples for the rest of

550
00:38:15.110 --> 00:38:21.460 A:middle L:90%
the talk, uh, as ways of illustrating what

551
00:38:21.469 --> 00:38:24.780 A:middle L:90%
, uh what How difficult it is to approach this

552
00:38:24.780 --> 00:38:28.969 A:middle L:90%
and how we thought we can get when we take

553
00:38:28.980 --> 00:38:31.079 A:middle L:90%
the rap. More radical approach. So, um

554
00:38:31.090 --> 00:38:36.570 A:middle L:90%
, so let's think about newspapers and universities, so

555
00:38:36.570 --> 00:38:39.170 A:middle L:90%
newspapers first. So this is the way people generally

556
00:38:39.170 --> 00:38:45.489 A:middle L:90%
think about newspapers, right? Even Superman can save

557
00:38:45.489 --> 00:38:51.360 A:middle L:90%
us now. Lex Luther has bought the daily planet

558
00:38:51.369 --> 00:38:54.079 A:middle L:90%
. And, uh, uh, Lois lane says

559
00:38:54.079 --> 00:38:58.909 A:middle L:90%
to uh, Clark Kent in desperation. Go start

560
00:38:58.909 --> 00:39:02.380 A:middle L:90%
a blog. Uh um, So there is this

561
00:39:02.380 --> 00:39:07.380 A:middle L:90%
kind of desperate feeling and and I sympathize with it

562
00:39:07.389 --> 00:39:10.909 A:middle L:90%
, uh, that newspapers are folding and that,

563
00:39:10.920 --> 00:39:15.690 A:middle L:90%
uh, there's, uh and that somehow moving information

564
00:39:15.690 --> 00:39:23.190 A:middle L:90%
into digital space has just destroyed the the enterprise of

565
00:39:23.199 --> 00:39:29.460 A:middle L:90%
journalism. But my point is that newspapers are not

566
00:39:29.469 --> 00:39:31.789 A:middle L:90%
journalism, but we have to care about journalism.

567
00:39:31.789 --> 00:39:34.769 A:middle L:90%
So how do we think about that? Well,

568
00:39:34.769 --> 00:39:37.130 A:middle L:90%
first, we would think about all of the different

569
00:39:37.130 --> 00:39:43.849 A:middle L:90%
ways in which we experience news and all of the

570
00:39:43.849 --> 00:39:47.250 A:middle L:90%
rich cultural history by which we have, um,

571
00:39:47.260 --> 00:39:54.219 A:middle L:90%
focused attention on particular news stories and and trained ourselves

572
00:39:54.230 --> 00:39:59.280 A:middle L:90%
. There's a There's a ritual to a newspaper that

573
00:39:59.280 --> 00:40:01.820 A:middle L:90%
allows us to take in what's new because there's a

574
00:40:01.820 --> 00:40:06.159 A:middle L:90%
template that tells us, Oh, this is what

575
00:40:06.159 --> 00:40:07.519 A:middle L:90%
a story Is this a headline? The headline on

576
00:40:07.519 --> 00:40:12.289 A:middle L:90%
the front front page is more important, and headlines

577
00:40:12.289 --> 00:40:15.480 A:middle L:90%
later on the the information is going to be in

578
00:40:15.480 --> 00:40:19.380 A:middle L:90%
the lead. Uh, and there are similar conventions

579
00:40:19.389 --> 00:40:23.269 A:middle L:90%
to television and radio reporting. Um, and then

580
00:40:23.269 --> 00:40:28.239 A:middle L:90%
there are genres that go into news like there's interviews

581
00:40:28.239 --> 00:40:30.449 A:middle L:90%
as features, this election coverage. Well, people

582
00:40:30.449 --> 00:40:34.559 A:middle L:90%
still need to know what's happening in elections. They

583
00:40:34.559 --> 00:40:37.809 A:middle L:90%
still need to have interviews. There's still and so

584
00:40:37.809 --> 00:40:42.530 A:middle L:90%
you have to ask yourself, Where's the expertise here

585
00:40:42.530 --> 00:40:45.539 A:middle L:90%
that makes up the profession? Maybe there is not

586
00:40:45.539 --> 00:40:51.199 A:middle L:90%
a clear, uh, revenue stream for it right

587
00:40:51.199 --> 00:40:54.309 A:middle L:90%
now, but we can figure out what it is

588
00:40:54.309 --> 00:41:00.170 A:middle L:90%
that has integrity that is not dependent on the pieces

589
00:41:00.170 --> 00:41:04.429 A:middle L:90%
of paper being there in the morning or in the

590
00:41:04.429 --> 00:41:06.989 A:middle L:90%
evening, and that then when you think about it

591
00:41:06.989 --> 00:41:08.059 A:middle L:90%
, you think, gee, the pieces of paper

592
00:41:08.070 --> 00:41:10.940 A:middle L:90%
. If you if the stories ever continued and you're

593
00:41:10.940 --> 00:41:14.050 A:middle L:90%
reading it on the subway of New York. It's

594
00:41:14.050 --> 00:41:16.389 A:middle L:90%
kind of it's hard to get to the the inside

595
00:41:16.389 --> 00:41:20.500 A:middle L:90%
page and follow it and remember where it's going.

596
00:41:20.500 --> 00:41:22.139 A:middle L:90%
You know, it's not as if and The New

597
00:41:22.139 --> 00:41:23.860 A:middle L:90%
York Times only you added color or something, like

598
00:41:23.869 --> 00:41:28.309 A:middle L:90%
10 years ago or something. So there's there,

599
00:41:28.320 --> 00:41:32.349 A:middle L:90%
isn't uhh they were not delivered. Uh, my

600
00:41:32.349 --> 00:41:37.340 A:middle L:90%
God, uh, in like, a stone tablet

601
00:41:37.349 --> 00:41:39.550 A:middle L:90%
. And and then we might think about stone tablets

602
00:41:39.550 --> 00:41:45.059 A:middle L:90%
, you know, and not the most, uh

603
00:41:45.070 --> 00:41:50.829 A:middle L:90%
, flexible form of information is so each of these

604
00:41:51.309 --> 00:41:52.070 A:middle L:90%
I think that story, by the way, has

605
00:41:52.070 --> 00:41:54.690 A:middle L:90%
to do with the advent of writing with the way

606
00:41:54.690 --> 00:41:59.119 A:middle L:90%
you can organize a community once you can write things

607
00:41:59.130 --> 00:42:04.090 A:middle L:90%
down. So, um uh, what? So

608
00:42:04.090 --> 00:42:07.389 A:middle L:90%
what are the constraints of newspaper? So this these

609
00:42:07.400 --> 00:42:09.610 A:middle L:90%
are some of them. And this is just not

610
00:42:09.610 --> 00:42:13.369 A:middle L:90%
to fully develop this as a design problem, but

611
00:42:13.369 --> 00:42:15.139 A:middle L:90%
to give you a taste of what it what it

612
00:42:15.139 --> 00:42:20.380 A:middle L:90%
is to think about this problem from a radically humanist

613
00:42:20.389 --> 00:42:24.309 A:middle L:90%
point of view and to see the business model as

614
00:42:24.320 --> 00:42:30.380 A:middle L:90%
just an artifact of a particular historical circumstance. Now

615
00:42:30.389 --> 00:42:31.449 A:middle L:90%
, if you own the newspaper or If you make

616
00:42:31.449 --> 00:42:35.329 A:middle L:90%
your living as a journalist, you have a different

617
00:42:35.329 --> 00:42:37.780 A:middle L:90%
and more anxious, uh, purchase on this,

618
00:42:37.780 --> 00:42:39.789 A:middle L:90%
of course. But if you're if you're a designer

619
00:42:39.789 --> 00:42:45.449 A:middle L:90%
and all of us have to cultivate the designer's mind

620
00:42:45.980 --> 00:42:50.500 A:middle L:90%
in order to remain sane as culture changes, I

621
00:42:50.500 --> 00:42:52.989 A:middle L:90%
believe, um, then you you have to be

622
00:42:52.989 --> 00:42:58.400 A:middle L:90%
able to step back from that, um so you

623
00:42:58.400 --> 00:43:00.969 A:middle L:90%
have to be able to say, Well, let's

624
00:43:00.969 --> 00:43:04.840 A:middle L:90%
see, there's these things that are the same in

625
00:43:04.840 --> 00:43:07.280 A:middle L:90%
news there's something like a headline or a teaser or

626
00:43:07.280 --> 00:43:12.190 A:middle L:90%
lead, or some ways of summarizing giving people the

627
00:43:12.190 --> 00:43:15.360 A:middle L:90%
bigger picture before you go into the details. And

628
00:43:15.369 --> 00:43:20.869 A:middle L:90%
how would we do that in digital media? Uh

629
00:43:20.880 --> 00:43:22.170 A:middle L:90%
, and maybe we could think about bigger, bigger

630
00:43:22.170 --> 00:43:27.010 A:middle L:90%
pictures because we have a more encyclopedic medium. So

631
00:43:27.010 --> 00:43:30.960 A:middle L:90%
maybe, um, we could talk about, say

632
00:43:30.960 --> 00:43:34.320 A:middle L:90%
, health care policy, as if it was part

633
00:43:34.320 --> 00:43:37.739 A:middle L:90%
humanly possible to understand health care policy. Right?

634
00:43:37.750 --> 00:43:40.590 A:middle L:90%
Right now this it's talked about as if all we

635
00:43:40.590 --> 00:43:44.119 A:middle L:90%
can do is tell you what's happening today, but

636
00:43:44.119 --> 00:43:47.010 A:middle L:90%
we have no prayer of really helping you to understand

637
00:43:47.010 --> 00:43:52.030 A:middle L:90%
what the choices are here. Um, so we

638
00:43:52.030 --> 00:43:53.719 A:middle L:90%
have to ask ourselves what is it that people need

639
00:43:53.719 --> 00:43:57.849 A:middle L:90%
to know? And how are they going to best

640
00:43:57.860 --> 00:43:59.710 A:middle L:90%
access that? I mean, there's some things you

641
00:43:59.710 --> 00:44:01.480 A:middle L:90%
might want to know immediately. What about local?

642
00:44:01.480 --> 00:44:05.699 A:middle L:90%
What about those mysterious things that happened down the block

643
00:44:05.699 --> 00:44:07.369 A:middle L:90%
in a big city? And then you never hear

644
00:44:07.369 --> 00:44:10.329 A:middle L:90%
why there were seven police cars? There wouldn't be

645
00:44:10.329 --> 00:44:14.150 A:middle L:90%
nice if you while you're there on the spot.

646
00:44:14.159 --> 00:44:16.219 A:middle L:90%
There's some way that you could be informed of what's

647
00:44:16.219 --> 00:44:20.739 A:middle L:90%
going on or even be informed of. If you

648
00:44:20.739 --> 00:44:23.190 A:middle L:90%
notice the time. By the time somebody is reported

649
00:44:23.190 --> 00:44:28.199 A:middle L:90%
on it, you could find out. Um And

650
00:44:28.210 --> 00:44:30.019 A:middle L:90%
, um so we we these are the kinds of

651
00:44:30.019 --> 00:44:35.530 A:middle L:90%
questions that we need to ask. Uh, so

652
00:44:35.530 --> 00:44:40.409 A:middle L:90%
let's say so. Um uh, okay, um

653
00:44:40.420 --> 00:44:45.420 A:middle L:90%
so and you can see how little by little we

654
00:44:45.420 --> 00:44:51.940 A:middle L:90%
start to develop conventions that are more digital native.

655
00:44:51.949 --> 00:44:55.829 A:middle L:90%
So the New York Times starts out by totally reproducing

656
00:44:55.840 --> 00:45:00.210 A:middle L:90%
the look and feel of the paper newspaper. And

657
00:45:00.210 --> 00:45:04.679 A:middle L:90%
then after a while, it comes up with with

658
00:45:04.679 --> 00:45:07.280 A:middle L:90%
this, uh, a new kind of convention which

659
00:45:07.280 --> 00:45:13.190 A:middle L:90%
is participatory in nature. What what is the most

660
00:45:13.190 --> 00:45:15.539 A:middle L:90%
popular? What is the most email and even these

661
00:45:15.539 --> 00:45:20.610 A:middle L:90%
different versions of what's most popular. Okay, um

662
00:45:21.389 --> 00:45:27.260 A:middle L:90%
, and And this this is a, uh I

663
00:45:27.260 --> 00:45:32.119 A:middle L:90%
think this is, uh, 1996 2010. Uh

664
00:45:32.130 --> 00:45:36.099 A:middle L:90%
, so when The earliest times. Yeah, it

665
00:45:36.099 --> 00:45:39.199 A:middle L:90%
is 1996. And, um uh, and then

666
00:45:39.199 --> 00:45:44.980 A:middle L:90%
two years ago, uh, and you see how

667
00:45:44.980 --> 00:45:47.000 A:middle L:90%
it starts out with the same sections as in the

668
00:45:47.000 --> 00:45:53.530 A:middle L:90%
paper. And then it develops different and multiple ways

669
00:45:53.539 --> 00:45:58.550 A:middle L:90%
of sectioning. It, uh, resolution gets better

670
00:45:58.550 --> 00:46:01.599 A:middle L:90%
. So more is on the front page. Um

671
00:46:01.610 --> 00:46:06.130 A:middle L:90%
, the headline is no longer believe you don't have

672
00:46:06.130 --> 00:46:10.389 A:middle L:90%
to cover as much proportionately of the of the first

673
00:46:10.389 --> 00:46:15.289 A:middle L:90%
screen as you would in a newspaper, but but

674
00:46:15.289 --> 00:46:19.070 A:middle L:90%
it's using columns, which is a web technique,

675
00:46:19.079 --> 00:46:24.710 A:middle L:90%
Web strategy and a newspaper strategy. Um, okay

676
00:46:27.480 --> 00:46:30.829 A:middle L:90%
. An example of a, uh, a of

677
00:46:30.829 --> 00:46:37.239 A:middle L:90%
what people usually do when they are approaching a change

678
00:46:37.250 --> 00:46:43.179 A:middle L:90%
. Uh, is remediation? Um uh, and

679
00:46:43.190 --> 00:46:45.730 A:middle L:90%
this is a very so what people usually do is

680
00:46:45.730 --> 00:46:52.929 A:middle L:90%
they try to reproduce the old medium in its form

681
00:46:52.940 --> 00:46:55.539 A:middle L:90%
in the new medium. And this is a very

682
00:46:55.539 --> 00:47:01.250 A:middle L:90%
much awarded, uh, piece that does that to

683
00:47:01.250 --> 00:47:06.030 A:middle L:90%
the best of people's ability in 2012. And if

684
00:47:06.039 --> 00:47:08.940 A:middle L:90%
people see the snowfall piece. So and what it

685
00:47:08.940 --> 00:47:12.559 A:middle L:90%
does is and I won't. I see I'm running

686
00:47:12.570 --> 00:47:15.829 A:middle L:90%
out of time somehow. So, uh, I

687
00:47:15.840 --> 00:47:16.550 A:middle L:90%
won't. I won't look at it online, but

688
00:47:16.550 --> 00:47:19.860 A:middle L:90%
I encourage you to look at it online. It's

689
00:47:19.869 --> 00:47:22.570 A:middle L:90%
a story that begins as a magazine story. And

690
00:47:22.579 --> 00:47:28.320 A:middle L:90%
it is, um, but it has interpolated into

691
00:47:28.320 --> 00:47:34.500 A:middle L:90%
it. Animated images from video and from simulations,

692
00:47:34.510 --> 00:47:36.849 A:middle L:90%
um, and as well as audio pieces and slide

693
00:47:36.849 --> 00:47:39.579 A:middle L:90%
pieces. But they have been sequenced with the idea

694
00:47:39.579 --> 00:47:44.440 A:middle L:90%
that you're basically reading and that at certain times in

695
00:47:44.440 --> 00:47:47.079 A:middle L:90%
the reading, you will be interested to see this

696
00:47:47.079 --> 00:47:52.050 A:middle L:90%
particular animation. And it's done with a lot of

697
00:47:52.059 --> 00:47:55.519 A:middle L:90%
visual authority. Um, so it's not It's much

698
00:47:55.519 --> 00:48:00.840 A:middle L:90%
cleaner than, uh, it would be trying to

699
00:48:00.840 --> 00:48:06.809 A:middle L:90%
fit this into that, uh, standard times template

700
00:48:06.820 --> 00:48:07.820 A:middle L:90%
. Uh, so this is and this is really

701
00:48:07.820 --> 00:48:10.929 A:middle L:90%
more like the Times magazine, but they had not

702
00:48:10.940 --> 00:48:14.920 A:middle L:90%
come up before this with a way of reproducing a

703
00:48:14.920 --> 00:48:19.280 A:middle L:90%
magazine experience. Uh, it's about an avalanche.

704
00:48:19.289 --> 00:48:23.019 A:middle L:90%
Um, and they they describe the people who want

705
00:48:23.019 --> 00:48:27.389 A:middle L:90%
to go, uh, skiing in this very dangerous

706
00:48:27.389 --> 00:48:30.429 A:middle L:90%
situation. And they show how rapturously beautiful it is

707
00:48:30.429 --> 00:48:36.599 A:middle L:90%
using video, and they have an animation of what

708
00:48:36.599 --> 00:48:40.550 A:middle L:90%
is basically a newspaper illustration. You don't really gain

709
00:48:40.550 --> 00:48:45.710 A:middle L:90%
that much from the fact that they animate the snowfall

710
00:48:45.719 --> 00:48:50.460 A:middle L:90%
. Uh, the most, the most, uh

711
00:48:50.469 --> 00:48:53.079 A:middle L:90%
, lively things they wanted. The most lively thing

712
00:48:53.079 --> 00:48:55.980 A:middle L:90%
they do and surprising is this. And it happens

713
00:48:55.980 --> 00:48:59.309 A:middle L:90%
when you scroll down the page so things are triggered

714
00:48:59.309 --> 00:49:02.880 A:middle L:90%
by scrolling down the page. So watch uh huh

715
00:49:04.269 --> 00:49:07.250 A:middle L:90%
, so that one of the skiers is saved by

716
00:49:07.250 --> 00:49:09.800 A:middle L:90%
having these inflatable wings like an air bag that you

717
00:49:09.800 --> 00:49:16.809 A:middle L:90%
wear. Um, and then they they format the

718
00:49:16.809 --> 00:49:21.659 A:middle L:90%
part of the story that's about the descent in this

719
00:49:21.659 --> 00:49:28.940 A:middle L:90%
descent. And they have lines showing who descended where

720
00:49:28.940 --> 00:49:30.199 A:middle L:90%
, and they remind you of who they are,

721
00:49:30.210 --> 00:49:34.469 A:middle L:90%
but they're not clickable. So you can go click

722
00:49:34.469 --> 00:49:37.619 A:middle L:90%
on this and say, uh, who was that

723
00:49:37.619 --> 00:49:42.190 A:middle L:90%
person again? And they have an animation of the

724
00:49:42.670 --> 00:49:46.389 A:middle L:90%
of the Avalanche, but oddly, the lavallee.

725
00:49:46.400 --> 00:49:51.349 A:middle L:90%
The animation is based on something that's much more computational

726
00:49:51.349 --> 00:49:53.309 A:middle L:90%
the rich, which is a simulation of the avalanche

727
00:49:53.320 --> 00:49:59.039 A:middle L:90%
. But it's made into a una linear video of

728
00:49:59.050 --> 00:50:01.610 A:middle L:90%
that, and this one shows where the people are

729
00:50:01.610 --> 00:50:06.320 A:middle L:90%
the dots show. I think this is the one

730
00:50:06.329 --> 00:50:08.219 A:middle L:90%
where the Yeah, these dots, all our people

731
00:50:08.230 --> 00:50:12.219 A:middle L:90%
. But you can mouse over them to find out

732
00:50:12.219 --> 00:50:15.619 A:middle L:90%
which of the people isn't. So there are all

733
00:50:15.619 --> 00:50:17.110 A:middle L:90%
of these things. This is a beginning of one

734
00:50:17.110 --> 00:50:20.849 A:middle L:90%
of the chapters. Now, if you saw this

735
00:50:20.849 --> 00:50:23.179 A:middle L:90%
on the Web, what would you expect if you

736
00:50:23.460 --> 00:50:30.269 A:middle L:90%
if you clicked on one of these right? Biography

737
00:50:30.659 --> 00:50:34.269 A:middle L:90%
? Yeah, but none of these are clickable.

738
00:50:34.960 --> 00:50:40.119 A:middle L:90%
So there's a complete, um uh, there's a

739
00:50:40.119 --> 00:50:44.389 A:middle L:90%
complete, uh, and and similarly, with this

740
00:50:45.159 --> 00:50:49.070 A:middle L:90%
, um, there's a complete ignoring of the Web

741
00:50:49.070 --> 00:50:52.369 A:middle L:90%
conventions. And then there's a pasting on of a

742
00:50:52.369 --> 00:50:57.139 A:middle L:90%
very good conventional documentary. So there's a very well

743
00:50:57.139 --> 00:51:00.320 A:middle L:90%
written article. There's a very good conventional documentary.

744
00:51:00.329 --> 00:51:05.980 A:middle L:90%
There are some very graceful interpolated pieces, and when

745
00:51:05.980 --> 00:51:08.139 A:middle L:90%
you read it, it's not interruptive of the reading

746
00:51:08.139 --> 00:51:13.070 A:middle L:90%
experience, but there what? What it is not

747
00:51:13.079 --> 00:51:16.190 A:middle L:90%
is an attempt to actually tell the story of the

748
00:51:16.190 --> 00:51:22.429 A:middle L:90%
avalanche freshly using the afford Ince's of the medium.

749
00:51:22.429 --> 00:51:24.289 A:middle L:90%
So next week I'm gonna assign that to my students

750
00:51:24.289 --> 00:51:28.460 A:middle L:90%
as a little surprise design problem. Don't tell them

751
00:51:28.469 --> 00:51:31.300 A:middle L:90%
, uh, that in class take the story.

752
00:51:31.309 --> 00:51:36.219 A:middle L:90%
How would you tell it if your job what you

753
00:51:36.219 --> 00:51:39.699 A:middle L:90%
wanted to do was Tell people about the Avalanche and

754
00:51:39.699 --> 00:51:45.559 A:middle L:90%
the story rather than illustrate this this pretty, you

755
00:51:45.559 --> 00:51:50.190 A:middle L:90%
know, beautifully written. I actually have this beautiful

756
00:51:50.190 --> 00:51:53.480 A:middle L:90%
, let's say, beautifully written magazine piece. So

757
00:51:53.489 --> 00:51:58.219 A:middle L:90%
, um uh, so this is a remediation.

758
00:51:58.230 --> 00:52:00.050 A:middle L:90%
So what it does is it adds it in.

759
00:52:00.059 --> 00:52:02.849 A:middle L:90%
It starts with the tax, ignores the conventions.

760
00:52:02.860 --> 00:52:07.780 A:middle L:90%
I've told you all this and and it reproduces these

761
00:52:07.780 --> 00:52:10.389 A:middle L:90%
conventions of page illustration. I use this term unisex

762
00:52:10.389 --> 00:52:14.619 A:middle L:90%
. Essential people sometimes say non linear. I don't

763
00:52:14.619 --> 00:52:17.519 A:middle L:90%
like the word nonlinear, because how do you design

764
00:52:17.519 --> 00:52:21.489 A:middle L:90%
something that to a negative? That's not a good

765
00:52:21.489 --> 00:52:25.300 A:middle L:90%
design quality? It's not this, Um, I

766
00:52:25.300 --> 00:52:29.179 A:middle L:90%
think that what we want to think about is how

767
00:52:29.190 --> 00:52:31.570 A:middle L:90%
legacy medium media are, you know, linear.

768
00:52:31.570 --> 00:52:35.119 A:middle L:90%
There's only one way through them. But what we

769
00:52:35.119 --> 00:52:39.179 A:middle L:90%
want to aspire to is our unisex Menschel. And

770
00:52:39.190 --> 00:52:43.630 A:middle L:90%
so I'd say sequential rhythm. But we want to

771
00:52:43.630 --> 00:52:47.130 A:middle L:90%
have a multi sequential environments where you can go through

772
00:52:47.130 --> 00:52:51.869 A:middle L:90%
things in different sequences. But they're all shapely.

773
00:52:51.880 --> 00:52:53.670 A:middle L:90%
They're all meaningful. So it has. Rather than

774
00:52:53.670 --> 00:53:00.130 A:middle L:90%
having not the coherence of a legacy item, it

775
00:53:00.130 --> 00:53:06.610 A:middle L:90%
has extra coherence. Multiple coherence is which together make

776
00:53:06.610 --> 00:53:09.190 A:middle L:90%
a bigger picture. So what is an example of

777
00:53:09.199 --> 00:53:13.409 A:middle L:90%
good use of the afford. Ince's so one of

778
00:53:13.409 --> 00:53:15.710 A:middle L:90%
my favorites. And again, I won't stop to

779
00:53:15.719 --> 00:53:19.960 A:middle L:90%
look at it in detail because But I But you

780
00:53:19.960 --> 00:53:21.880 A:middle L:90%
can find it on the web. Some looking up

781
00:53:21.880 --> 00:53:24.530 A:middle L:90%
right now, the smart money map of the market

782
00:53:24.539 --> 00:53:29.119 A:middle L:90%
. How many people are familiar with this? So

783
00:53:29.130 --> 00:53:32.070 A:middle L:90%
check it out. So it lets you you can

784
00:53:32.070 --> 00:53:37.469 A:middle L:90%
see the entire market. This is in happier days

785
00:53:37.849 --> 00:53:40.480 A:middle L:90%
. Uh, when the green means that the sector

786
00:53:40.480 --> 00:53:44.340 A:middle L:90%
is in good shape, you can see that these

787
00:53:44.340 --> 00:53:47.110 A:middle L:90%
particular sectors are not in good shape. You could

788
00:53:47.110 --> 00:53:52.570 A:middle L:90%
change it if you have red, green colorblindness,

789
00:53:52.579 --> 00:53:54.909 A:middle L:90%
uh, to, uh um, So what would

790
00:53:54.909 --> 00:53:59.469 A:middle L:90%
you make it? Blue and, um, white

791
00:53:59.469 --> 00:54:00.969 A:middle L:90%
? Is that what they do for, uh,

792
00:54:01.440 --> 00:54:05.969 A:middle L:90%
And I'm not remembering the moment, but but you

793
00:54:05.969 --> 00:54:07.159 A:middle L:90%
can change it so that you so that it doesn't

794
00:54:07.159 --> 00:54:10.219 A:middle L:90%
have that, uh, so that it's It's more

795
00:54:10.230 --> 00:54:14.650 A:middle L:90%
, uh, access friendly. Um, and you

796
00:54:14.650 --> 00:54:17.019 A:middle L:90%
can get deeper into the material. You can also

797
00:54:17.030 --> 00:54:21.670 A:middle L:90%
filter it so you can see change over time.

798
00:54:21.739 --> 00:54:24.010 A:middle L:90%
You could look at it at different time. Um

799
00:54:24.019 --> 00:54:29.530 A:middle L:90%
uh, intervals. Um, and you get news

800
00:54:29.530 --> 00:54:30.840 A:middle L:90%
stories associated you can get down to the level of

801
00:54:30.840 --> 00:54:35.440 A:middle L:90%
a single stock and news stories now, because the

802
00:54:35.440 --> 00:54:38.630 A:middle L:90%
stock market is of such financial centrality in our,

803
00:54:38.639 --> 00:54:42.860 A:middle L:90%
uh, society, there's a lot that's been done

804
00:54:43.119 --> 00:54:45.340 A:middle L:90%
with the stock market. But most of what was

805
00:54:45.340 --> 00:54:50.349 A:middle L:90%
done other than this and before this are essentially,

806
00:54:50.940 --> 00:54:54.699 A:middle L:90%
uh, legacy frameworks like a graph. And so

807
00:54:54.699 --> 00:54:58.210 A:middle L:90%
you have to have multiple graphs. Or remember that

808
00:54:58.210 --> 00:55:00.880 A:middle L:90%
all those tables and newspapers so people will reproduce those

809
00:55:00.880 --> 00:55:05.849 A:middle L:90%
tables or just make them searchable or, uh so

810
00:55:05.849 --> 00:55:09.829 A:middle L:90%
those are okay, But this is a radical rethinking

811
00:55:09.840 --> 00:55:15.980 A:middle L:90%
of the problem of understanding the sack market situation,

812
00:55:15.980 --> 00:55:20.980 A:middle L:90%
and it gives you an overview that you can take

813
00:55:20.980 --> 00:55:23.440 A:middle L:90%
in much quicker. And therefore, we're much smarter

814
00:55:23.449 --> 00:55:28.030 A:middle L:90%
when we can take in a complex situation more quickly

815
00:55:28.030 --> 00:55:31.260 A:middle L:90%
and when we can access specific details more easily.

816
00:55:31.840 --> 00:55:35.960 A:middle L:90%
So, um yeah, bench. And this is

817
00:55:35.960 --> 00:55:38.239 A:middle L:90%
based on the University of Maryland bench. Sneiderman's work

818
00:55:38.250 --> 00:55:40.969 A:middle L:90%
with treatment. Uh, and here are some other

819
00:55:40.969 --> 00:55:44.920 A:middle L:90%
examples, which I'll give you these slides and you

820
00:55:44.920 --> 00:55:50.090 A:middle L:90%
can check them out of people trying to make overviews

821
00:55:50.099 --> 00:55:54.929 A:middle L:90%
of complex situations in one place that make good use

822
00:55:54.940 --> 00:56:00.619 A:middle L:90%
of the encyclopedic afford. Ince's of the medium rather

823
00:56:00.619 --> 00:56:06.829 A:middle L:90%
than reproducing the legacy forms. Um, okay,

824
00:56:06.829 --> 00:56:07.739 A:middle L:90%
so now let's talk briefly, and I'll do it

825
00:56:07.739 --> 00:56:10.389 A:middle L:90%
more quickly about universities. So there's a lot of

826
00:56:10.389 --> 00:56:15.579 A:middle L:90%
things in universities that depend on media forms. So

827
00:56:15.579 --> 00:56:19.010 A:middle L:90%
you would start maybe by thinking about all the things

828
00:56:19.010 --> 00:56:22.619 A:middle L:90%
that we do and what kinds of, uh,

829
00:56:22.630 --> 00:56:29.309 A:middle L:90%
print artifacts support those things, Um, think about

830
00:56:29.320 --> 00:56:34.250 A:middle L:90%
the, uh, the obscenity of registration and how

831
00:56:34.250 --> 00:56:37.500 A:middle L:90%
difficult that is. And, uh, and how

832
00:56:37.500 --> 00:56:39.210 A:middle L:90%
much worse it was when people had to go around

833
00:56:39.210 --> 00:56:43.829 A:middle L:90%
and get things stamped and And how much are we

834
00:56:43.829 --> 00:56:46.030 A:middle L:90%
reproducing? Some of those same confusions, Or have

835
00:56:46.030 --> 00:56:50.190 A:middle L:90%
we completely, uh, made use of all of

836
00:56:50.190 --> 00:56:52.099 A:middle L:90%
the procedural power we could to help people to get

837
00:56:52.099 --> 00:56:55.300 A:middle L:90%
all the courses that they need? Um, so

838
00:56:55.300 --> 00:56:59.659 A:middle L:90%
you get in the mindset where you don't take for

839
00:56:59.659 --> 00:57:04.590 A:middle L:90%
granted the current forms of any of these processes.

840
00:57:04.599 --> 00:57:08.079 A:middle L:90%
Why is the certification the diploma? How would we

841
00:57:08.079 --> 00:57:12.489 A:middle L:90%
know if a diploma was real in the age of

842
00:57:12.489 --> 00:57:15.579 A:middle L:90%
Photoshop? Um, what other kinds of certification might

843
00:57:15.579 --> 00:57:20.519 A:middle L:90%
there be? Um, we we want to get

844
00:57:20.519 --> 00:57:23.309 A:middle L:90%
in the frame of mind where you are thinking not

845
00:57:23.309 --> 00:57:28.460 A:middle L:90%
about preserving an institution or reproducing the functions of a

846
00:57:28.460 --> 00:57:32.599 A:middle L:90%
particular institution. But of the core human activity,

847
00:57:32.599 --> 00:57:37.119 A:middle L:90%
the core human need not newspapers journalism, not a

848
00:57:37.119 --> 00:57:45.710 A:middle L:90%
universities, but education. Um uh, and thinking

849
00:57:45.710 --> 00:57:50.550 A:middle L:90%
about all of the ways in which we have gained

850
00:57:52.079 --> 00:57:57.349 A:middle L:90%
in our ability to organize knowledge from the print revolution

851
00:57:57.829 --> 00:58:01.230 A:middle L:90%
. I'm thinking about the ways in which we assume

852
00:58:01.230 --> 00:58:07.239 A:middle L:90%
that knowledge is transmitted and could be disrupted by snowstorm

853
00:58:07.250 --> 00:58:10.170 A:middle L:90%
. Let us say, uh, uhh and,

854
00:58:10.179 --> 00:58:15.929 A:middle L:90%
um mm. And how we how we credential how

855
00:58:15.929 --> 00:58:19.150 A:middle L:90%
we tell, How do we know one thing that's

856
00:58:19.150 --> 00:58:21.889 A:middle L:90%
really interesting about this? You know, I encourage

857
00:58:21.889 --> 00:58:25.210 A:middle L:90%
the radical thinking in a way, the very advent

858
00:58:25.219 --> 00:58:31.309 A:middle L:90%
of digital, uh, artifacts into a field forces

859
00:58:31.309 --> 00:58:35.889 A:middle L:90%
people into radical thinking. And then we tried not

860
00:58:35.889 --> 00:58:38.320 A:middle L:90%
to do the radical thinking. So we have to

861
00:58:38.320 --> 00:58:42.880 A:middle L:90%
say to ourselves, My God, what if coursera

862
00:58:42.880 --> 00:58:45.030 A:middle L:90%
made sense and everything can be put on the Web

863
00:58:45.219 --> 00:58:47.440 A:middle L:90%
? And then, after we put all our courses

864
00:58:47.440 --> 00:58:50.269 A:middle L:90%
on the Web, do we go away? You

865
00:58:50.269 --> 00:58:53.230 A:middle L:90%
know, Is there no value to do meeting people

866
00:58:53.230 --> 00:58:55.889 A:middle L:90%
in person and teaching them? It seems like there's

867
00:58:55.889 --> 00:59:00.110 A:middle L:90%
something valuable going on there, so we're forced to

868
00:59:00.110 --> 00:59:02.449 A:middle L:90%
ask those radical questions. But I would say what

869
00:59:02.449 --> 00:59:07.030 A:middle L:90%
we We need to embrace them because what we usually

870
00:59:07.030 --> 00:59:10.210 A:middle L:90%
do is we get defensive. And then librarians at

871
00:59:10.219 --> 00:59:15.110 A:middle L:90%
first defended the card catalogs because what if that paper

872
00:59:15.110 --> 00:59:19.309 A:middle L:90%
disappeared? The knowledge is the paper. I don't

873
00:59:19.309 --> 00:59:22.639 A:middle L:90%
know if librarians currently think, uh, that there

874
00:59:22.639 --> 00:59:25.190 A:middle L:90%
was things lost when we lost those pieces of paper

875
00:59:25.199 --> 00:59:29.420 A:middle L:90%
. I think I think there's a lot lost when

876
00:59:29.420 --> 00:59:32.960 A:middle L:90%
Google Books, uh, digitized books without using the

877
00:59:32.960 --> 00:59:37.150 A:middle L:90%
catalog, because the metadata is in the catalog,

878
00:59:37.159 --> 00:59:39.750 A:middle L:90%
but not on the paper. So much. Um

879
00:59:40.219 --> 00:59:44.550 A:middle L:90%
, so, um, so we we tend to

880
00:59:44.559 --> 00:59:49.369 A:middle L:90%
defend the legacy format, but we What we need

881
00:59:49.369 --> 00:59:54.159 A:middle L:90%
to do is more passionately defend. But But first

882
00:59:54.159 --> 00:59:58.460 A:middle L:90%
question, you know, we have to question radically

883
00:59:58.469 --> 01:00:01.570 A:middle L:90%
so that we can identify the humanistic heart of what

884
01:00:01.570 --> 01:00:06.260 A:middle L:90%
we do so we can defend it much more passionately

885
01:00:06.260 --> 01:00:07.449 A:middle L:90%
and much more effectively. So we know what we're

886
01:00:07.449 --> 01:00:13.210 A:middle L:90%
defending. Um, uh, yeah. So then

887
01:00:13.210 --> 01:00:15.719 A:middle L:90%
we think about these things, but not about the

888
01:00:15.719 --> 01:00:20.960 A:middle L:90%
tuition, because the economic base is a whole separate

889
01:00:20.960 --> 01:00:22.670 A:middle L:90%
thing. I mean, we have to think about

890
01:00:22.679 --> 01:00:28.079 A:middle L:90%
how newspapers lost advertising. Newspapers lost their local primacy

891
01:00:28.079 --> 01:00:30.789 A:middle L:90%
that classified we have to think about that. And

892
01:00:30.789 --> 01:00:34.190 A:middle L:90%
as administrators, we absolutely have to think about preserving

893
01:00:34.190 --> 01:00:37.920 A:middle L:90%
institutions as part with our administrator had. But in

894
01:00:37.920 --> 01:00:40.940 A:middle L:90%
terms of thinking about the future and of our more

895
01:00:40.949 --> 01:00:46.489 A:middle L:90%
important responsibilities of preserving the function of education, we

896
01:00:46.489 --> 01:00:51.940 A:middle L:90%
have to set aside that material. Um, consideration

897
01:00:52.409 --> 01:00:55.320 A:middle L:90%
. So, uh, and then one thing that

898
01:00:55.320 --> 01:00:59.769 A:middle L:90%
happens when you get these digital interventions is you realize

899
01:00:59.769 --> 01:01:01.199 A:middle L:90%
that this has happened to me over and over again

900
01:01:01.199 --> 01:01:06.699 A:middle L:90%
in various fields, from foreign languages to engineering education

901
01:01:06.710 --> 01:01:09.570 A:middle L:90%
, that we actually don't know what constitutes knowledge of

902
01:01:09.570 --> 01:01:14.030 A:middle L:90%
a field. Yeah, when push comes to shove

903
01:01:14.510 --> 01:01:17.059 A:middle L:90%
, it's very hard for people to say, This

904
01:01:17.059 --> 01:01:20.840 A:middle L:90%
is when you know French. This is when you

905
01:01:20.840 --> 01:01:22.570 A:middle L:90%
know how to make a bridge. It doesn't fall

906
01:01:22.570 --> 01:01:27.320 A:middle L:90%
down. Yeah, so we know mistakes. We

907
01:01:27.320 --> 01:01:30.030 A:middle L:90%
can easily tell mistakes in, in in performance,

908
01:01:30.210 --> 01:01:34.090 A:middle L:90%
but to say what constitutes knowledge of the field,

909
01:01:34.090 --> 01:01:37.860 A:middle L:90%
how do we test for it? It's actually much

910
01:01:37.860 --> 01:01:42.690 A:middle L:90%
more complicated than than, uh then you would think

911
01:01:42.699 --> 01:01:45.210 A:middle L:90%
, um and, uh and so But I would

912
01:01:45.210 --> 01:01:49.829 A:middle L:90%
say again, we need to embrace that those questions

913
01:01:49.840 --> 01:01:52.619 A:middle L:90%
, Uh, and then from there, we can

914
01:01:52.619 --> 01:01:54.570 A:middle L:90%
say, Well, then what kind of learning system

915
01:01:54.570 --> 01:01:59.719 A:middle L:90%
will lead to that? So, um, so

916
01:01:59.719 --> 01:02:02.460 A:middle L:90%
an example to me of remediation approach that I think

917
01:02:02.460 --> 01:02:05.659 A:middle L:90%
doesn't get us very far, but which is,

918
01:02:05.670 --> 01:02:07.239 A:middle L:90%
you know, very laudable. And and And I

919
01:02:07.239 --> 01:02:12.539 A:middle L:90%
think he said that this is made by an adorable

920
01:02:12.539 --> 01:02:15.690 A:middle L:90%
human being. Um, that that is the Khan

921
01:02:15.690 --> 01:02:22.829 A:middle L:90%
Academy. So because what it does is is reproduced

922
01:02:22.840 --> 01:02:28.940 A:middle L:90%
with all these limitations, the the blackboard. And

923
01:02:28.940 --> 01:02:31.079 A:middle L:90%
then look at this completely indecipherable chart. I mean

924
01:02:31.079 --> 01:02:36.440 A:middle L:90%
, this does not really tell me what this complicated

925
01:02:36.440 --> 01:02:40.099 A:middle L:90%
economic situation I think he's explained the Greek debt here

926
01:02:40.110 --> 01:02:44.230 A:middle L:90%
. Um, what I really need, I believe

927
01:02:44.239 --> 01:02:46.289 A:middle L:90%
is some kind of a simulation is some kind of

928
01:02:46.289 --> 01:02:51.190 A:middle L:90%
a drawing that gives me some sense of these values

929
01:02:51.190 --> 01:02:53.860 A:middle L:90%
and which values control which, uh, what the

930
01:02:53.860 --> 01:02:59.369 A:middle L:90%
progression. Over time, I need something that is

931
01:02:59.380 --> 01:03:04.519 A:middle L:90%
, uh that is much more, uh, integrated

932
01:03:04.900 --> 01:03:09.900 A:middle L:90%
, Uh, in conveying this system and these numbers

933
01:03:09.909 --> 01:03:14.909 A:middle L:90%
, uh, together, um, and that.

934
01:03:14.909 --> 01:03:16.940 A:middle L:90%
Then we'll tell me why Greece in some way as

935
01:03:16.940 --> 01:03:22.239 A:middle L:90%
well. Um, so for me, this is

936
01:03:22.250 --> 01:03:28.070 A:middle L:90%
, uh this problem is exemplified by the Intel project

937
01:03:28.070 --> 01:03:30.750 A:middle L:90%
that I worked on for learning statics, which I've

938
01:03:30.750 --> 01:03:34.150 A:middle L:90%
talked to some of you about where I where we

939
01:03:34.150 --> 01:03:37.659 A:middle L:90%
set about to make exercises that would help people to

940
01:03:37.659 --> 01:03:40.949 A:middle L:90%
formulate free body diagrams. And that would also help

941
01:03:40.949 --> 01:03:45.619 A:middle L:90%
to expand the diversity of people who came into engineering

942
01:03:45.800 --> 01:03:49.960 A:middle L:90%
by taking real world situations. So we we made

943
01:03:49.969 --> 01:03:52.250 A:middle L:90%
exercises which I invite you to look at it and

944
01:03:52.250 --> 01:03:53.769 A:middle L:90%
tell that to take that into you that are that

945
01:03:53.769 --> 01:03:57.760 A:middle L:90%
are very helpful. But they don't go far.

946
01:03:57.760 --> 01:04:05.260 A:middle L:90%
But they they surfaced the clumsiness of teaching engineering in

947
01:04:05.260 --> 01:04:12.199 A:middle L:90%
a way that separates statics deaf bodies and dynamics so

948
01:04:12.199 --> 01:04:15.690 A:middle L:90%
that you don't get to manipulate a model. And

949
01:04:15.699 --> 01:04:18.780 A:middle L:90%
when you're trying to learn what it is, what

950
01:04:18.780 --> 01:04:23.329 A:middle L:90%
are the forces, those invisible forces pressing against each

951
01:04:23.329 --> 01:04:25.010 A:middle L:90%
other? You want to get a sense of them

952
01:04:25.190 --> 01:04:28.070 A:middle L:90%
that are keeping up the building. You really need

953
01:04:28.070 --> 01:04:30.099 A:middle L:90%
a bottle in which the building could fall down.

954
01:04:30.110 --> 01:04:34.489 A:middle L:90%
But you But I was told, uh, really

955
01:04:34.489 --> 01:04:38.989 A:middle L:90%
one of the most important learning experiences of my life

956
01:04:39.000 --> 01:04:43.010 A:middle L:90%
by my colleagues in engineering that nothing could fall down

957
01:04:43.090 --> 01:04:46.559 A:middle L:90%
because that would be dynamics. Uh huh. Okay

958
01:04:46.570 --> 01:04:49.530 A:middle L:90%
, So and I understand that they worked very hard

959
01:04:49.530 --> 01:04:53.480 A:middle L:90%
to teach these subjects, but but I and I

960
01:04:53.480 --> 01:04:56.340 A:middle L:90%
think they had these colleagues had the right idea,

961
01:04:56.349 --> 01:05:00.090 A:middle L:90%
which was that it wasn't about plug and chug.

962
01:05:00.099 --> 01:05:01.440 A:middle L:90%
Uh, you know, pulling in numbers in an

963
01:05:01.440 --> 01:05:04.610 A:middle L:90%
equation that the students needed to learn to think like

964
01:05:04.610 --> 01:05:08.349 A:middle L:90%
an engineer, which means to get that moment of

965
01:05:08.349 --> 01:05:12.250 A:middle L:90%
abstraction where they saw the forces and could draw the

966
01:05:12.250 --> 01:05:15.090 A:middle L:90%
diagram. They understood the relation of the forces in

967
01:05:15.090 --> 01:05:20.159 A:middle L:90%
the diagram. Uh, but they did not see

968
01:05:20.170 --> 01:05:24.510 A:middle L:90%
that to do that. They had a whole palette

969
01:05:24.519 --> 01:05:30.230 A:middle L:90%
of possibilities for a much more powerful embodied. Learning

970
01:05:30.239 --> 01:05:35.030 A:middle L:90%
if they would reproduce the the behavior of the of

971
01:05:35.030 --> 01:05:41.139 A:middle L:90%
the experiential world where things fall out. Um,

972
01:05:41.139 --> 01:05:45.699 A:middle L:90%
and I wanted to just as an example of this

973
01:05:45.699 --> 01:05:47.409 A:middle L:90%
similar thing. And I think I'll make this the

974
01:05:47.409 --> 01:05:54.139 A:middle L:90%
last example because we're in this classroom. Now,

975
01:05:54.139 --> 01:05:58.190 A:middle L:90%
let's see which you're good. Um, one of

976
01:05:58.190 --> 01:06:00.750 A:middle L:90%
the first projects I worked on, actually, I

977
01:06:00.750 --> 01:06:04.210 A:middle L:90%
show this first, uh, in, uh,

978
01:06:05.380 --> 01:06:10.210 A:middle L:90%
was, uh, in? Uh, no.

979
01:06:11.079 --> 01:06:14.739 A:middle L:90%
An earlier project was towards the end of my time

980
01:06:14.739 --> 01:06:17.719 A:middle L:90%
at MIT that I were I worked mostly in humanities

981
01:06:17.719 --> 01:06:21.710 A:middle L:90%
at MIT, but I worked with one really visionary

982
01:06:23.079 --> 01:06:28.460 A:middle L:90%
, a physicist who had who was an astrophysicist and

983
01:06:28.460 --> 01:06:31.409 A:middle L:90%
who just was passionate about education. And he himself

984
01:06:32.079 --> 01:06:38.539 A:middle L:90%
described his own cognition as seeing the electromagnetic fields.

985
01:06:38.809 --> 01:06:42.079 A:middle L:90%
And it was his passion that he wanted to convey

986
01:06:42.079 --> 01:06:44.789 A:middle L:90%
this to his freshman students, who, of course

987
01:06:44.789 --> 01:06:47.579 A:middle L:90%
, just wanted to get out of freshman physics with

988
01:06:47.590 --> 01:06:51.289 A:middle L:90%
with a grade and their sanity. Uh, and

989
01:06:51.300 --> 01:06:57.300 A:middle L:90%
, uh and, uh, and he wanted just

990
01:06:57.300 --> 01:07:05.900 A:middle L:90%
to make animations of those electromagnetic fields such as this

991
01:07:12.679 --> 01:07:15.500 A:middle L:90%
. Okay, so this was the t o project

992
01:07:15.500 --> 01:07:16.989 A:middle L:90%
. It had another name later, but John Belcher

993
01:07:17.000 --> 01:07:19.320 A:middle L:90%
was his name. And you could find his work

994
01:07:19.329 --> 01:07:23.010 A:middle L:90%
going, John. So, uh, you see

995
01:07:23.010 --> 01:07:26.440 A:middle L:90%
, there were beautiful animations. Um, but as

996
01:07:26.440 --> 01:07:30.710 A:middle L:90%
soon as he made those animations in digital media,

997
01:07:30.480 --> 01:07:33.860 A:middle L:90%
it blew apart the whole course. And he wound

998
01:07:33.860 --> 01:07:38.639 A:middle L:90%
up in a classroom that looked like this, uh

999
01:07:38.650 --> 01:07:41.750 A:middle L:90%
, where the students faced one another and where they

1000
01:07:41.750 --> 01:07:48.030 A:middle L:90%
worked on problems together and where he made manipulative exercises

1001
01:07:48.030 --> 01:07:54.380 A:middle L:90%
instead of just illustrative, uh, passively watched animations

1002
01:07:54.389 --> 01:08:00.150 A:middle L:90%
. Because as soon as you open up the subject

1003
01:08:00.159 --> 01:08:05.349 A:middle L:90%
beyond the textbook, teaching you it and and and

1004
01:08:05.349 --> 01:08:08.969 A:middle L:90%
as soon as you engage with the medium that has

1005
01:08:08.969 --> 01:08:11.760 A:middle L:90%
these afford Ince's and we just know from all of

1006
01:08:11.760 --> 01:08:14.440 A:middle L:90%
our other gadgets and all our other applications and the

1007
01:08:14.440 --> 01:08:17.279 A:middle L:90%
rich world of games in particular that these machines can

1008
01:08:17.289 --> 01:08:20.189 A:middle L:90%
do all these things. You want to do that

1009
01:08:20.569 --> 01:08:28.260 A:middle L:90%
? So it is inherently challenging to move into this

1010
01:08:28.260 --> 01:08:30.090 A:middle L:90%
fear. And that's why I'm hopeful, even about

1011
01:08:30.100 --> 01:08:34.229 A:middle L:90%
things that I think are really depressing, like,

1012
01:08:34.239 --> 01:08:38.989 A:middle L:90%
um, like MOOCs. Um, because I think

1013
01:08:38.989 --> 01:08:42.779 A:middle L:90%
that even though they might be limited now, okay

1014
01:08:42.789 --> 01:08:45.699 A:middle L:90%
, they don't have to Oh, God. To

1015
01:08:45.699 --> 01:08:46.689 A:middle L:90%
think for a minute. Which side? This was

1016
01:08:46.689 --> 01:08:49.189 A:middle L:90%
all. Where did I come in to get back

1017
01:08:49.199 --> 01:08:57.100 A:middle L:90%
to the screen? No, I think I came

1018
01:08:57.100 --> 01:09:01.840 A:middle L:90%
in over here. Uh huh. Please, little

1019
01:09:01.840 --> 01:09:04.529 A:middle L:90%
cursor, please come back. Oh, here you

1020
01:09:04.529 --> 01:09:14.979 A:middle L:90%
are. Okay, um, that just engaging with

1021
01:09:14.979 --> 01:09:18.210 A:middle L:90%
the digital increases our level of expectation. It's sort

1022
01:09:18.210 --> 01:09:21.390 A:middle L:90%
of like having that remote in your hand that all

1023
01:09:21.390 --> 01:09:28.149 A:middle L:90%
of a sudden those commercials are just intolerable. A

1024
01:09:28.159 --> 01:09:32.829 A:middle L:90%
similar project was, uh, Casablanca Project, which

1025
01:09:32.840 --> 01:09:35.270 A:middle L:90%
I will. I'll just I think I can run

1026
01:09:35.270 --> 01:09:42.090 A:middle L:90%
this. And so So this is a project that

1027
01:09:42.100 --> 01:09:46.310 A:middle L:90%
, um uh that described how to teach film.

1028
01:09:46.319 --> 01:09:50.500 A:middle L:90%
So we currently teach film Mhm with the film is

1029
01:09:50.500 --> 01:09:56.050 A:middle L:90%
very separate from the teaching explanations. And we have

1030
01:09:56.050 --> 01:10:00.189 A:middle L:90%
a documentary evidence of film such as outtakes, Um

1031
01:10:00.199 --> 01:10:04.600 A:middle L:90%
, such as scripts such as production records that can

1032
01:10:04.600 --> 01:10:09.800 A:middle L:90%
tell us an enormous amount about the social history of

1033
01:10:09.810 --> 01:10:13.239 A:middle L:90%
, uh, of the country. Because so much

1034
01:10:13.239 --> 01:10:16.539 A:middle L:90%
of that is involved in American film culture and about

1035
01:10:16.539 --> 01:10:19.069 A:middle L:90%
the art of filmmaking, which is very collaborative and

1036
01:10:19.069 --> 01:10:23.189 A:middle L:90%
involves a lot of choices. This is an outtake

1037
01:10:23.189 --> 01:10:27.369 A:middle L:90%
from Casablanca. Um, this is, um,

1038
01:10:27.859 --> 01:10:30.829 A:middle L:90%
uh, an annotation to a particular moment that calls

1039
01:10:30.829 --> 01:10:33.930 A:middle L:90%
up the script. It shows where a line was

1040
01:10:33.930 --> 01:10:40.159 A:middle L:90%
invented and where else it's used comparison of the pre

1041
01:10:40.159 --> 01:10:43.210 A:middle L:90%
film script that they used to make the film.

1042
01:10:43.220 --> 01:10:45.590 A:middle L:90%
All of these things should be apart. And just

1043
01:10:45.590 --> 01:10:49.899 A:middle L:90%
an ordinary part of film study as well as the

1044
01:10:49.899 --> 01:10:55.119 A:middle L:90%
tradition, the apprenticeship tradition by which, um,

1045
01:10:55.130 --> 01:11:00.949 A:middle L:90%
Steven Spielberg comments on the end of the film and

1046
01:11:00.960 --> 01:11:05.359 A:middle L:90%
and what reminds him of and what the technique means

1047
01:11:05.359 --> 01:11:12.420 A:middle L:90%
to him. Um, we, uh we don't

1048
01:11:12.420 --> 01:11:18.100 A:middle L:90%
have this because we have yet to have a information

1049
01:11:18.109 --> 01:11:26.199 A:middle L:90%
architecture that has the authority for people to contribute to

1050
01:11:26.199 --> 01:11:30.810 A:middle L:90%
it and to access the materials without violating copyright.

1051
01:11:30.819 --> 01:11:34.560 A:middle L:90%
We could have that with an effort like Wikipedia,

1052
01:11:34.569 --> 01:11:39.800 A:middle L:90%
Uh, and, uh, and iTunes together Say

1053
01:11:39.800 --> 01:11:42.500 A:middle L:90%
where there's a way of accessing the copyright and there's

1054
01:11:42.500 --> 01:11:45.260 A:middle L:90%
a way of organizing the information and that is the

1055
01:11:45.260 --> 01:11:48.630 A:middle L:90%
future. So that when we look at other artifacts

1056
01:11:48.640 --> 01:11:51.199 A:middle L:90%
, which is when we look at film study and

1057
01:11:51.199 --> 01:11:55.500 A:middle L:90%
how we should always have in mind, this is

1058
01:11:55.500 --> 01:11:58.109 A:middle L:90%
where things are going. We may not get there

1059
01:11:58.109 --> 01:12:00.420 A:middle L:90%
tomorrow, but this is this is the way the

1060
01:12:00.430 --> 01:12:05.920 A:middle L:90%
information, uh, afford Ince's are allowing us to

1061
01:12:05.920 --> 01:12:08.489 A:middle L:90%
go. And these are the ways that will make

1062
01:12:08.489 --> 01:12:11.569 A:middle L:90%
us smarter, uh, and, uh, more

1063
01:12:11.569 --> 01:12:14.989 A:middle L:90%
communicative with one another. Okay, I'm gonna skip

1064
01:12:15.000 --> 01:12:17.460 A:middle L:90%
this, which is an example of my e t

1065
01:12:17.460 --> 01:12:18.939 A:middle L:90%
. V. You can invite me back to talk

1066
01:12:18.939 --> 01:12:20.939 A:middle L:90%
about that. And I have been I have three

1067
01:12:20.939 --> 01:12:24.510 A:middle L:90%
more slides. I'll be done. So Okay,

1068
01:12:24.510 --> 01:12:26.600 A:middle L:90%
so here's the summer. So I think our task

1069
01:12:26.600 --> 01:12:30.109 A:middle L:90%
is to extend human expressivity and knowledge. I think

1070
01:12:30.119 --> 01:12:35.710 A:middle L:90%
we do that by calling on these conventions of media

1071
01:12:35.720 --> 01:12:42.300 A:middle L:90%
by which we have organized our attention and that represents

1072
01:12:42.300 --> 01:12:46.760 A:middle L:90%
centuries of cognitive and cultural development. Um, and

1073
01:12:46.770 --> 01:12:50.229 A:middle L:90%
I think that the challenge in doing it is that

1074
01:12:50.229 --> 01:12:55.010 A:middle L:90%
we are always very bound by the print cultural form

1075
01:12:55.020 --> 01:12:58.779 A:middle L:90%
. So somebody hands somebody an article and says,

1076
01:12:58.779 --> 01:13:01.510 A:middle L:90%
Look at this beautiful article written about avalanches. Nobody's

1077
01:13:01.510 --> 01:13:03.939 A:middle L:90%
gonna say, Oh, I let me start from

1078
01:13:03.939 --> 01:13:08.699 A:middle L:90%
scratch and do it. They're gonna say, Oh

1079
01:13:08.699 --> 01:13:11.840 A:middle L:90%
, let me see what I can make that will

1080
01:13:11.840 --> 01:13:15.289 A:middle L:90%
be sort of like reading a wonderful article and that

1081
01:13:15.289 --> 01:13:16.890 A:middle L:90%
only uses a scroll bar. And here's this latest

1082
01:13:16.890 --> 01:13:24.310 A:middle L:90%
little Java script Uh uh, Plug in that I

1083
01:13:24.310 --> 01:13:26.220 A:middle L:90%
could use that will make it easy for me to

1084
01:13:26.220 --> 01:13:29.840 A:middle L:90%
do that. And, um but that doesn't really

1085
01:13:29.840 --> 01:13:31.420 A:middle L:90%
lead us forward, but But it does show us

1086
01:13:31.430 --> 01:13:36.279 A:middle L:90%
what? How disappointed we are in a good way

1087
01:13:36.289 --> 01:13:40.739 A:middle L:90%
so that we can think about what is what?

1088
01:13:40.739 --> 01:13:43.840 A:middle L:90%
How do we get beyond the remediation version? How

1089
01:13:43.840 --> 01:13:45.670 A:middle L:90%
do we get beyond what we can currently do with

1090
01:13:45.680 --> 01:13:49.170 A:middle L:90%
a proprietary move, For instance, so and how

1091
01:13:49.170 --> 01:13:53.470 A:middle L:90%
do we respond to the situation? We could lament

1092
01:13:53.470 --> 01:13:55.750 A:middle L:90%
and, you know, panic. It's always,

1093
01:13:55.760 --> 01:14:00.890 A:middle L:90%
uh, entertaining. We could get into the the

1094
01:14:00.890 --> 01:14:04.670 A:middle L:90%
legacy formats, or we could do what Jenna Marie

1095
01:14:04.670 --> 01:14:09.409 A:middle L:90%
tells you to do, which is to try hard

1096
01:14:09.409 --> 01:14:14.039 A:middle L:90%
to join the collective effort of exploiting these. Afford

1097
01:14:14.039 --> 01:14:18.380 A:middle L:90%
Ince's by radically rethinking the activity and building a new

1098
01:14:18.380 --> 01:14:25.399 A:middle L:90%
vocabulary of conventions that work to maximize the digital medium

1099
01:14:25.409 --> 01:14:28.039 A:middle L:90%
. Uh, and, uh, So I would

1100
01:14:28.039 --> 01:14:33.189 A:middle L:90%
say that even if you're not involved directly in design

1101
01:14:33.199 --> 01:14:38.119 A:middle L:90%
, that we're all involved in the disruptions caused by

1102
01:14:38.119 --> 01:14:42.359 A:middle L:90%
the intervention of the digital. So it's important for

1103
01:14:42.359 --> 01:14:45.420 A:middle L:90%
all of us to reserve a part of our mind

1104
01:14:45.430 --> 01:14:48.779 A:middle L:90%
where we see this larger view of what the medium

1105
01:14:48.789 --> 01:14:54.220 A:middle L:90%
can do and where we embrace it, because we

1106
01:14:54.220 --> 01:14:58.550 A:middle L:90%
can see the parts of it that are doing this

1107
01:14:58.560 --> 01:15:02.199 A:middle L:90%
important cultural job of widening the circle of shared attention

1108
01:15:02.210 --> 01:15:06.770 A:middle L:90%
, increasing empathy and understanding and just making us more

1109
01:15:06.770 --> 01:15:11.149 A:middle L:90%
deeply human. So thank you very much for your

1110
01:15:11.149 --> 01:15:16.779 A:middle L:90%
attention on a Friday afternoon. I'm Yeah. So

1111
01:15:16.779 --> 01:15:20.149 A:middle L:90%
if anybody wants to leave, please do Uh huh

1112
01:15:20.640 --> 01:15:27.319 A:middle L:90%
questions Mhm. Obtain those. And then we do

1113
01:15:27.319 --> 01:15:30.920 A:middle L:90%
have a I'll be fine as well. Are there

1114
01:15:33.039 --> 01:15:41.449 A:middle L:90%
mhm? Everybody agrees with me, so no problem

1115
01:15:41.449 --> 01:16:01.850 A:middle L:90%
. Yeah, right. Have thought you so like

1116
01:16:04.430 --> 01:16:08.590 A:middle L:90%
you don't stop. Culture doesn't stop. You keep

1117
01:16:08.590 --> 01:16:13.869 A:middle L:90%
refining and adapting everything that guys can be made a

1118
01:16:13.869 --> 01:16:17.739 A:middle L:90%
point. Yeah, by design. Oh, do

1119
01:16:17.739 --> 01:16:20.470 A:middle L:90%
I think that you can reproduce the physical world in

1120
01:16:20.470 --> 01:16:24.210 A:middle L:90%
the digital meat. Now, I don't I don't

1121
01:16:24.220 --> 01:16:29.460 A:middle L:90%
believe that. But I think that you can serve

1122
01:16:29.470 --> 01:16:32.579 A:middle L:90%
needs with the digital media. I'm just like I

1123
01:16:32.579 --> 01:16:36.880 A:middle L:90%
don't think that, um, so that, um

1124
01:16:36.890 --> 01:16:41.369 A:middle L:90%
you can for, you know, fall into a

1125
01:16:41.369 --> 01:16:46.109 A:middle L:90%
book and then that replaces the experiential world. But

1126
01:16:46.109 --> 01:16:49.710 A:middle L:90%
I think it's a form of representation, like a

1127
01:16:49.710 --> 01:16:55.409 A:middle L:90%
book and that it, um it has a Ford

1128
01:16:55.409 --> 01:17:00.210 A:middle L:90%
Ince's that we that we judge by whether they make

1129
01:17:00.210 --> 01:17:03.899 A:middle L:90%
us, uh, stronger and happier and more connected

1130
01:17:03.909 --> 01:17:09.300 A:middle L:90%
in in our actual lived, you know, inhabited

1131
01:17:09.300 --> 01:17:18.439 A:middle L:90%
bodies. Does that help? Yeah. Here.

1132
01:17:18.439 --> 01:17:23.340 A:middle L:90%
I wonder if you could lecture, played a game

1133
01:17:24.729 --> 01:17:26.000 A:middle L:90%
? Oh, I have a lot to say about

1134
01:17:26.000 --> 01:17:28.479 A:middle L:90%
that. Let's see if I can see a little

1135
01:17:28.479 --> 01:17:30.930 A:middle L:90%
bit about it. Um, so a standard way

1136
01:17:30.930 --> 01:17:34.310 A:middle L:90%
of thinking about it is that games are is play

1137
01:17:34.310 --> 01:17:40.130 A:middle L:90%
with rules and play is also important. Play animal

1138
01:17:40.140 --> 01:17:45.079 A:middle L:90%
. Other species play play means doing things that are

1139
01:17:45.079 --> 01:17:49.689 A:middle L:90%
not directly involved in survival. For for the pleasure

1140
01:17:49.689 --> 01:17:56.760 A:middle L:90%
of it, um, and social play often means

1141
01:17:56.760 --> 01:18:00.159 A:middle L:90%
sharing that pleasure. As with chimps, it it

1142
01:18:00.159 --> 01:18:03.649 A:middle L:90%
often there's often, uh, adaptive, um and

1143
01:18:03.720 --> 01:18:09.029 A:middle L:90%
, uh, hierarchical issues involved and uh, and

1144
01:18:09.039 --> 01:18:12.039 A:middle L:90%
, um, that are not and bonding issues.

1145
01:18:12.319 --> 01:18:15.090 A:middle L:90%
So play has a really important role. It also

1146
01:18:15.090 --> 01:18:17.500 A:middle L:90%
I guess the simplest way to think about play and

1147
01:18:17.500 --> 01:18:23.810 A:middle L:90%
creativity is it keeps alive. A repertoire of creative

1148
01:18:23.810 --> 01:18:30.539 A:middle L:90%
responses that is separate from our programmed responses are wrote

1149
01:18:31.100 --> 01:18:36.279 A:middle L:90%
instinctual knee jerk response. Um, and so our

1150
01:18:36.279 --> 01:18:42.770 A:middle L:90%
ability for symbolic representation, um, and our ability

1151
01:18:42.779 --> 01:18:45.319 A:middle L:90%
, uh, for playfulness is a way of keeping

1152
01:18:45.319 --> 01:18:51.670 A:middle L:90%
alive that larger repertoire of responses drift. Of course

1153
01:18:51.670 --> 01:18:55.750 A:middle L:90%
, they the critique of game destroys. Exactly.

1154
01:18:57.819 --> 01:19:00.670 A:middle L:90%
Yeah. Young man plugged into his computer with his

1155
01:19:00.680 --> 01:19:03.350 A:middle L:90%
back to the family, living in a fantasy world

1156
01:19:03.819 --> 01:19:06.449 A:middle L:90%
. No doing this. It's not the same.

1157
01:19:06.779 --> 01:19:09.430 A:middle L:90%
Well, you know, my mother felt the same

1158
01:19:09.430 --> 01:19:13.069 A:middle L:90%
way about reading a book. I mean, families

1159
01:19:13.069 --> 01:19:16.960 A:middle L:90%
don't like anybody turning it back, but that doesn't

1160
01:19:16.960 --> 01:19:20.880 A:middle L:90%
mean that what they're doing is intrinsically less valuable.

1161
01:19:20.890 --> 01:19:24.609 A:middle L:90%
Uh, so though I recognize what you're talking about

1162
01:19:24.609 --> 01:19:26.350 A:middle L:90%
, that that can be, uh, you know

1163
01:19:26.359 --> 01:19:30.939 A:middle L:90%
, uh, unproductive ways of dealing with media.

1164
01:19:30.119 --> 01:19:33.239 A:middle L:90%
But I don't think I think that people use,

1165
01:19:33.520 --> 01:19:38.130 A:middle L:90%
uh, other media. They use books in unproductive

1166
01:19:38.130 --> 01:19:43.689 A:middle L:90%
ways as well for reinforcing wrote behaviors for refusing to

1167
01:19:43.689 --> 01:19:45.699 A:middle L:90%
engage and grow. Uh, But I don't think

1168
01:19:45.710 --> 01:19:49.560 A:middle L:90%
that there's a hierarchy of media by which games are

1169
01:19:49.560 --> 01:19:54.479 A:middle L:90%
lower at all. And I think that games do

1170
01:19:54.479 --> 01:19:58.060 A:middle L:90%
organize our attention and actually even a game that you're

1171
01:19:58.060 --> 01:20:00.199 A:middle L:90%
playing against the computer. I think we have a

1172
01:20:00.210 --> 01:20:04.260 A:middle L:90%
cultural project now of developing the rituals of shared attention

1173
01:20:04.270 --> 01:20:10.109 A:middle L:90%
with machines, and that is going to help us

1174
01:20:10.109 --> 01:20:15.180 A:middle L:90%
cognitively. And so I think that games expand the

1175
01:20:15.180 --> 01:20:19.409 A:middle L:90%
repertoire, the cognitive repertoire. Um so, yeah

1176
01:20:19.420 --> 01:20:21.659 A:middle L:90%
, so I I don't worry about people playing games

1177
01:20:21.659 --> 01:20:29.899 A:middle L:90%
too much. Two quick announced before give our his

1178
01:20:29.909 --> 01:20:35.189 A:middle L:90%
favorite restaurant work was I first need to do something

1179
01:20:35.189 --> 01:20:36.340 A:middle L:90%
I didn't do at the beginning. But I want

1180
01:20:36.340 --> 01:20:39.210 A:middle L:90%
to do now is just to give special thanks to

1181
01:20:39.210 --> 01:20:41.619 A:middle L:90%
the people in the library who have helped this event

1182
01:20:42.010 --> 01:20:44.739 A:middle L:90%
be what it is today. Think of Lindland,

1183
01:20:44.739 --> 01:20:48.569 A:middle L:90%
who was honored librarian Man, I'm here just in

1184
01:20:48.569 --> 01:20:51.510 A:middle L:90%
the last year to ramp up our awareness. All

1185
01:20:51.510 --> 01:20:55.819 A:middle L:90%
these possible played a great part in helping to work

1186
01:20:55.819 --> 01:20:59.409 A:middle L:90%
in thank you for like to thank treats Walters,

1187
01:20:59.409 --> 01:21:02.569 A:middle L:90%
who is here today behind the camera but has played

1188
01:21:02.569 --> 01:21:05.050 A:middle L:90%
a huge role in being able to get the message

1189
01:21:05.050 --> 01:21:09.609 A:middle L:90%
out about these kinds of programs work, convention with

1190
01:21:10.010 --> 01:21:13.289 A:middle L:90%
location with the library and talk about community organization.

1191
01:21:13.510 --> 01:21:15.989 A:middle L:90%
I've never been anyone with any more energy to get

1192
01:21:15.000 --> 01:21:18.199 A:middle L:90%
community together. That Therese Walter so really very grateful

1193
01:21:18.199 --> 01:21:20.729 A:middle L:90%
for all you've got to help us publicize this event

1194
01:21:20.729 --> 01:21:26.609 A:middle L:90%
and all the active done and a special thanks to

1195
01:21:26.619 --> 01:21:29.289 A:middle L:90%
a partner in crime. I could not have ordered

1196
01:21:29.300 --> 01:21:30.729 A:middle L:90%
one from a catalog and chemicals, but anyone better

1197
01:21:30.739 --> 01:21:33.430 A:middle L:90%
? Uh, Brian Matthews, who is not only

1198
01:21:33.439 --> 01:21:36.489 A:middle L:90%
the ubiquitous librarian, blogging for The Chronicle of higher

1199
01:21:36.489 --> 01:21:40.579 A:middle L:90%
education and trying very hard to re mediate that particular

1200
01:21:40.579 --> 01:21:43.520 A:middle L:90%
internal I think, but also someone who is associate

1201
01:21:43.520 --> 01:21:45.050 A:middle L:90%
director for the center. All right, a great

1202
01:21:45.060 --> 01:21:48.380 A:middle L:90%
deal to help push our horizons out. He's one

1203
01:21:48.380 --> 01:21:51.159 A:middle L:90%
of the designers of this very room, and someone

1204
01:21:51.159 --> 01:21:57.529 A:middle L:90%
who's been very vigilant about spotting entrepreneurial possibilities for progress

1205
01:21:58.310 --> 01:22:00.670 A:middle L:90%
are if you just joined me. First of all

1206
01:22:00.670 --> 01:22:01.699 A:middle L:90%
, in taking the folks with the library melted,

1207
01:22:05.409 --> 01:22:10.000 A:middle L:90%
we got our snow room for us at the last

1208
01:22:10.010 --> 01:22:13.979 A:middle L:90%
minute, and we have Good afternoon. Thank me

1209
01:22:13.989 --> 01:22:15.539 A:middle L:90%
. Join me. One more. Thank you,

1210
01:22:15.210 --> 01:22:18.539 A:middle L:90%
Janet Murray, for being here. Thank you.