Today’s TDC says
Draw “nonsense upon stilts”
I asked NightCafe to help me capture this phrase from Bentham

Nonsense upon stilts flickr photo by NomadWarMachine shared under a Creative Commons (CC BY-NC-SA 4.0) license
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Today’s TDC says
Draw “nonsense upon stilts”
I asked NightCafe to help me capture this phrase from Bentham

Nonsense upon stilts flickr photo by NomadWarMachine shared under a Creative Commons (CC BY-NC-SA 4.0) license
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Question postcards flickr photo by NomadWarMachine shared under a Creative Commons (BY-NC-SA 2.0) license
During the month of August I will be participating in Blaugust, a month long blogging challenge.
This post is an answer to Roger’s Blaugust post. I also like quizzes and questionnaires, so here’s my answers to the Bernard Pivot Questionnaire (the post byRoger omits question 4, but I’ve answered all 10 here).
Q1: What is your favourite word?
There’s lots of Scots words that I like – dreich is one that I use a lot as it describes so many Glasgow days.
Q2: What is your least favourite word?
Any word that describes dead animals. Steak, yuck!
Q3: What turns you on?
Any creative challenges, like the Daily Create and anything else inspired by the DS106 community, or the annual calendar that we do as CLMOOC. Talking about remix and bricolage, and writing about it.
Q4: What turns you off?
Selfish behaviour of any type. Arrogant arses taking others for granted. Competitive games. All sport.
Q5: What sound do you love?
The sound of a cat curled up in an Amaxon box licking a paw. It expresses safety and comfort.
Q6: What sound do you hate?
Any song by Dido. She’s awful.
Q7: What is your favourite curse word?
I like the phrase ‘hell’s bells and buckets of blood’. Dad used to say it when I as young, and I still hear it in his voice.
Q8: What profession other than yours would you like to attempt?
I’d quite like to have been a politician. Not one of the self-serving ones that are the majority at the moment, one that actually believed in “government of the people, by the people, for the people”. Actually, I’d really have preferred to live in a real anarchist society, or a direct democracy, but that’s a thought to another post.
Q9: What profession would you not like to participate in?
Anything to do with sales or marketing. I did some sales jobs when I was young – I wasn’t very good at them.
Q10: If heaven exists, what would you like to hear god say when you arrive at the pearly gates?
Well, I could quip here about god being a woman. But given all of the evil in this world I’d be too busy shouting at her to hear what she was saying. I used to really enjoy teaching philosophy of religion, and I do think the problem of evil is proof that the theistic god does not exist.
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For today’s TDC, as it is Good Friday, I chose a passage from Nietzsche:
“God is dead. God remains dead. And we have killed him. How shall we comfort ourselves, the murderers of all murderers? What was holiest and mightiest of all that the world has yet owned has bled to death under our knives: who will wipe this blood off us? What water is there for us to clean ourselves? What festivals of atonement, what sacred games shall we have to invent? Is not the greatness of this deed too great for us? Must we ourselves not become gods simply to appear worthy of it?” Nietzsche Die Fröhliche Wissenschaft, 125

Text weave flickr photo by NomadWarMachine shared under a Creative Commons (CC BY-NC-SA 4.0) license
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A Haiku for today’s TDC

A Thousand Plateaus flickr photo by NomadWarMachine shared under a Creative Commons (CC BY-NC-SA 4.0) license
Do you like rhizomes?
Then you will enjoy this book
Nomad War Machine
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Eliza flickr photo by NomadWarMachine shared under a Creative Commons (BY-NC-SA) license
I first came across Eliza in 1980, when an uncle gave my dad Gödel, Escher, Bach for Christmas. Dad loved it, and so did I when I read it (my father was a very slow reader, so I took to sneaking the book away when he was busy and reading as much as I could before putting it back by his chair ready for him to read a page or two in the evening). It’s a wonderful book about maths, music and art, with a deeper meaning about how cognition emerges. Dad gave me his copy when I went to university, and it’s still on my shelves now.
Happy Xmas flickr photo by NomadWarMachine shared under a Creative Commons (BY-NC-SA) license
So I was delighted when I saw that today’s Daily Create was to go and have a ‘conversation’ with Eliza.
She’s still just as annoying as I remember her being. You can see my conversation in the image above, copied here below. Her responses are in caps.
HOW DO YOU DO. PLEASE TELL ME YOUR PROBLEM
Why do you ask?
WHY DO YOU ASK
I asked first!
YOU SAY YOU ASKED FIRST
Well, I did!
CAN YOU ELABORATE ON THAT
I can …
DO YOU SAY YOU CAN FOR SOME SPECIAL REASON
Yes, grammar
YOU SEEM QUITE POSITIVE
And you can try it out for yourself if you like: Eliza
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“Creativity” flickr photo by Melissa W Edwards shared under a Creative Commons (BY-NC) license
What do people mean when they talk about creative pedagogies? Are they talking about pedagogies that support creativity, and produce creative learners, or are they talking about creative (i.e. novel) types of pedagogy?
According to Wikipedia, creative pedagogy was founded by Dr. Andrei Aleinikov, and this is how he defines it:
In its essence, creative pedagogy teaches learners how to learn creatively and become creators of themselves and creators of their future.
That’s what I would have expected it to mean, and that’s what I assumed was meant when I signed up for a collaborative experience about creative pedagogies last year. But it turned out that the facilitators had a different understanding of the term. What they were interested in talking about were:
inspir[ing] faculty towards creative/innovative ways of being in classrooms
So anything that’s not just a didactic lecture, probably? At any rate, the emphasis was on what people might do in the classroom, rather than on the theoretical underpinnings to these practices (pedagogy needs to be both, in my opinion).
Would I have signed up for the collaboration if I’d realised this? Probably not. Is it my fault for misunderstanding? Probably.
But once I did realise what was meant, I started to wonder about the whole initiative. If a particular pedagogy is just an approach to teaching and learning that is innovative, does it stop being a innovative pedagogy when it becomes commonplace? Presumably it does. So actually the ‘innovative’ in the description is not really helpful – because what is new to you might be usual practice for someone else. It’s probably better, in my opinion, to talk about alternative ways of teaching and types of assessment.
Of course, your creative (novel) pedagogy might actually be to encourage learners to be creative in another sense of the word – by getting STEM students to use poetry, or humanities students to use LEGO, by setting up assessments that students can be creative about – and submit a piece of knitting or embroidery that answers the question (and kudos for those who create rubrics to assess this type of submission). This is great, but I do think that there needs to be some thought about why these might be of benefit to student learning, rather than just being something novel (innovative) to do.
Personally I prefer something like Aleinikov’s definition. The aim of a creative pedagogy should be to create learners that can think for themselves, and have the confidence to think of interesting ways of answering questions, and to think of interesting questions to ask. And, for philosophy, to help future philosophers to create concepts that are immune from capitalist manipulation.
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I was contacted this week by a professor in my old Philosophy department (where I spent many happy years as a PhD student and graduate teaching assistant), wanting to know how I made the move from philosophy into learning and teaching. That’s something I am always happy to talk about – I’m genuinely interested in how people can take experience and expertise in one area and use it in another.
In my case it happened something like this. I was teaching a lot of tutorials in level 1 philosophy and trying my best to find ways of getting more students to do more than sit passively while the few confident students dominated the conversation, or tutorials turned into mini lectures. A friend (now my husband) suggested that I start to look at learning and teaching events as a way of finding inspiration – and told me that the UofG learning and teaching conference would give me a nice, free lunch if nothing else. I attended the conference, saw a talk by a lecturer (Steve Draper) about Jigsaw Classrooms, and realised I’d found a model that I could use. So I contacted Steve and met with him, applied for and received a small grant from the HEA (as it was then), and spent the next year developing my model of Jigsaw Tutorials. I immersed myself in educational research, wrote papers, presented at conferences, and developed materials that others could adopt or adapt for their own teaching. In short, I became an expert in Jigsaw and realised that I wanted to work in learning and teaching. So when a part-time, short-term post was advertised in the Learning and Teaching Centre I was excited to apply, and over the moon when I got the job. A full-time post came up as a learning technologist and I was again successful, the Uni approved a fee waiver for me to begin a PhD in Education and the rest, as they say, is history. I was not sure how useful my experience would be to others wanting to make a similar move – but I was more than happy to share my success story.
Over a short phone call, however, it became obvious that she was not interested in my story, because she thought of what I’d done not as a positive move from a subject that I’d grown tired of into an area of research that interested me a lot more – and which I felt was important as it made a practical difference – but as a downwards move by a failed researcher. It’s always lovely to get an insight into how others see you. She told me of a colleague who she was meeting later that day who, in her words, had ‘come to the end of the line’ in philosophy after a series of short-term contracts, and who she was going to suggest move into learning and teaching – hence her enquiry to me.
I gave some advice. I said that if a colleague was genuinely interested in making the transition from disciplinary research into the scholarship of teaching and learning then there were communities that I could introduce them to, and colleagues who had also made the move who could help them to make the move. I said that it was not easy, that it was a career path with at least as much importance as disciplinary research, and that SoTL was as rigorous as any other subject. But she was not really listening. In her mind I was a loser, I had failed at Philosophy so I’d gone off to work in a dead-end service job with a lot of other losers, and she wanted to know how her loser colleague might scrape a meaningless existence with us.
I know, on one level, that research is more highly thought of than teaching, I know that I work at a research-intensive university, so maybe this should not have been a surprise. But it was.
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For the last couple of months I have been slowly reading Iain McGilchrist’s The Master and His Emissary. Slowly – because it is a big book, in more ways than one. I am only scratching at the surface of it – but the discussion of the left and right hemispheres is fascinating. As a leftie and the daughter of a leftie, I grew up with a lot of folk wisdom about the left hemisphere as being the faculty of reason and language while the right hemisphere is the domain of emotion and visual imagery. This, as McGilchrist shows, is false – both hemispheres are involved in each, just in different ways. The right provides us with the big picture, while the left is good at analysing details and specifics. In his RSA talk, McGilchrist gives an example of a bird to illustrate this – using its left hemisphere to focus on picking out tasty seeds from amongst the pebbles while the right hemisphere scans the area for possible danger. Both functions are vital, both sides need to talk to each other and, importantly, also listen to each other. In particular, the right hemisphere is connected to the physical world in a way that the left is not. And this can lead us into problems when the left forgets to pay attention to the right, which it is prone to do. I would really recommend watching this talk. I’ll be back to talk about the consequences for humanity for prioritising the left way of thinking over the right which is the subject of the second part of this book.
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Inspired by a Twitter conversion, I added a couple of phases from Heidegger to an AI art generator and this is the result. These are the phrases:
Why are there beings at all, instead of Nothing?
Language remains the master of man.
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Aletheia was a Greek Goddess. The word is often translated into English as truth – and Aletheia’s Roman counterpart is called Veritas. However, as Heidegger and others say, truth is really insufficient as a translation. Truth is a noun in Latin, but in Greek aletheia is an activity. This is not just an exercise in semantics. Heidegger understood the importance of language: it shapes our understanding of our world and constrains what we can say.
Etymologically aletheia means un-forgetting or un-concealing (a- lethe). In Greek mythology the river Lethe was one of the five rivers in Hades, and all those who drank from it forgot everything they knew. In “The Origin of the Work of Art” Heidegger tells is that art opens up a clearing to disclose meaning – it helps us to un-forget. And further – art is not just a way that we can find out about ourselves and our world – it also creates meanings for us as a community. I might prefer to conceptualise this slightly differently and talk about art as opening up possibilities for different meanings, interpretations or understandings, but the idea is thought provoking.
Wittgenstein makes a similar point in his Tractatus (5.6) when he says that “the limits of my language are the limits of my world” – if we can’t describe something in words then in a very real sense it does not exist for us (I am aware that Wittgenstein would have gone further with this thought at the time than I am doing now). And further, in a later work:
“A picture held us captive. And we could not get outside it, for it lay in our language and language seemed to repeat it to us inexorably.” Philosophical Investigations, 115
Art helps us to give us the concepts that we need to understand our world in new ways – it reminds us that there is more than one way of looking at things. Aletheia is stronger than just remembering, it is making a conscious effort to act in a certain way – it is an attitude towards the world. I think that this might well describe the demeanour of a bricoleur. Our ‘what if?’ and ‘yes, and?’ attitudes to life help us to open up the world to ourselves in new ways and discover new ways of being in the world.