PowerPoint: Official Weapon of Mass Persuasion

Image from the blog post Watercooler Confidential, "Death by PowerPoint." Click image for original post.

Government malfeasance and bureaucratic incompetence step aside: there’s now a new reason for the US failures in Iraq and Afghanistan, and it’s a product made by Microsoft. According to this widely circulated article in the New York Times, the over-use of PowerPoint, Microsoft’s sleep inducing presentation software, is the new menace threatening the success of the US military adventures in the Middle East. The article cites a growing number of high-ranking military officials who are increasingly critical of the communication platform. The greatest threat to clarity for many of these officials, the paper reports, is not the muddled mess of circles and arrows pictured above, but the emphasis on hierarchical thinking, which, according to several military officers, even those who frequently use PowerPoint, tends to dumb down and generalize the information being conveyed.

“Some problems in the world are not bullet-izable,” said Brig. Gen. H. R. McMaster, adding “It’s dangerous because it can create the illusion of understanding and the illusion of control.”

This complaint is, of course nothing new. Edward Tufte makes the near identical argument in his 2003 essay: “The Cognitive Style of Power Point: Pitching Out Corrupts within.” That essay includes a remarkable discussion of how NASA’s over-reliance on PowerPoint may have inadvertently been responsible for the failure of the Space Shuttle Columbia upon re-entry February1, 2003, claiming that reliance upon bulleted information led to a kind of sales pitch mentality, which obfuscated the real threat posed by the debris impact shortly after launch. “The language, spirit, and presentation tool of the pitch culture had penetrated throughout the NASA organization, even into the most serious technical analysis, the survival of the shuttle,” said Tufte.

Could this very well be what happened in May of that same year, when military and administration officials decided to invade Iraq in search of WMDs? Indeed, the actual decision to invade was obviously a cynical fait accompli, manufactured by The White House and Downing Street, but one can only imagine the great number of PowerPoint pitches that made that decision possible, not to mention the number that followed the invasion which helped to justify the continued presence of US troops in the absence of any chemical or nuclear weapons.

Each semester I teach a workshop on presentation basics to several groups of Business Department students here at Baruch, and, despite the continued uncritical reliance upon PowerPoint, or perhaps because of it, it seems like students are beginning to figure out that the templates Microsoft provides are maybe not the best place to begin their presentations. When I tell students “PowerPoint is for your audience, not for you;” when I try to explain the importance of presenting information visually in a clear and objective form; and when I make the suggestion that maybe they avoid using PowerPoint entirely, I don’t receive nearly as many looks of angry consternation as I used to. Perhaps, just like the generals interviewed for the Times piece, these students have been the victims of one too many redundant, unimaginative, and narrow-minded PowerPoint presentation (often from their instructors) and maybe, just maybe, they’re ready to move beyond the tyranny of the bullet-point.

Either way, there is at least one place where the use of PowerPoint may be expected to lose some of its attraction. I just found out that Edward Tufte has been hired by the Obama Administration as a member of the Recovery Independent Advisory Panel, to help investigate and clearly explain the impact of the $787 Billion economic stimulus package passed last year. If only we could now get him to explain credit default swaps to Congress.

And then what?

NeXTstation
Creative Commons License photo credit: btornado

Last Wednesday I attended, with some other fellows from the institute, the Digital University conference at the Graduate Center. Several times during the day, and during a reception in the evening, projects that participants had worked on were demonstrated. A list of  several was started by Matt Gold who moderated the pedagogy workshop.

Many of these projects were original and inventive in their use of technology. I was particularly struck by this comparative representation of all the different iterations of Darwin’s The Origin of Species. This website allows you to follow the evolution of the text and easily compare several editions. It’s simple to use, elegant in a very minimalistic way, and does its very specific task very well. Several projects demonstrated at the conference had similar goals, of essentially displaying a large amount of information in a graphically effective way. There was  a very striking and “pretty” application using self-generating spiral graphics to demonstrate genealogical information, for example.

But what next? I’ve had the opportunity to look at several such projects over time, and the web is full of similar attempts, that never get much use besides being demonstrated in conferences. How is a project like this meant to be used in teaching? I’m sure many of you are familiar with MERLOT, the site where, in my experience, many such brilliant ideas go to die.  I feel like many of these projects begin from a “Wouldn’t it be cool if…?” perspective, without careful consideration of what they will actually be used for.

Of course, the designers of these projects can validly claim that these are flexible tools with many possible applications, and that it is up to the instructor to make the best use of them. But technology has traditionally been designed and developed to deal with specific problems. Why should instructional technology be any different?

“And with your accent, you get away with it…!”

According to my bestEST (Yes, I know that, as one of my former professors in Linguistics at the University of Pittsburgh used to say, I am “murdering the English language”!) American friend, I have a habit of talking to complete strangers and telling them rather shocking things. “Without shame,” she says, “and with your accent, you get away with it!” She thinks that if she were saying similar things as an American, people would just stare at her flabbergasted. Given that I was brought up in what Freud could easily define as a “shame culture,” where what you said or did mattered because of the ripple-effects it had on your “reputation” and the gossip that filled people’s lives determined by close family ties, I have come a long way.

Come on In
Creative Commons License photo credit: Timothy Valentine

And I think I have. (Shall I put this down as part of my Americanization, nevertheless? ;) . The fact is that I do love talking to people, and the beauty of NYC is that you meet all these people from all over the world, and they all have their life-stories to tell. What happens is that part of me talking is the sociolinguist who is used to doing research and is fascinated by history and language. It is not that I am “using” the people I talk to as my little laboratory mice to extract information from, but I do listen to what they are saying through the filter of theory. My teaching has also been shaped by a mischievous desire to shock people into awareness, so I tend to throw out ideas that students could find potentially shocking in order to get them thinking about the issues involved. (Whatever the poor instructor can do to get them off their “gadgets,” Blackberries and iphones hidden under textbook-covers.)

But I never really thought that I “get away” with things because of my accent. Of course, my American friend, the sweetest girl on earth, meant it all in the best possible way: charming person with a charming accent. Possibly, she is right, after all, she is the outside observer. I used to think it was my capacity for empathy that appealed to people, my listening skills and my willingness to meet them halfway as a human being talking to another human being. We all have an accent, even my American friends have their regional dialects, yet, true, some of us sound more foreign than others, and some of us sound more European than others. And yes, I have to say that I do notice a certain Eurocentrism among the people I talk to in the streets of NYC, a tendency to like European accent and associate more prestige with it. But then, when I go “back” to Europe, I roll my “r” like Americans do. In Spain I get away easily as an American, and, believe it or not, they like that, too. (Forget about the alleged hostility towards Americans, or maybe it is my personal charm, after all.) What bothers me, nevertheless, is that I have come to the realization, shocking in itself, that I have gradually acquired an accent in all my languages: I speak my mother tongue with an accent in the US, though I get back my native speaker fluency whenever I return and as soon as my plane hits the ground of my country, which I always experience as a small miracle. Moreover, I become exceedingly chatty in my second language as well, though that is the language I was taught to define myself against as a minority, which was the most evil and preposterous thing ideology and politics could have done to me, a child bilingual from birth.

Oh, the joys of an accented self! Have I already blogged about this? I’ll leave it up to Luke to decide, the kindest censor of all!

We Own Everything, So You Don’t Have To

Google logo render - Mark Knol
Creative Commons License photo credit: mark knol

As the startlingly rapid movement to digitize everything on earth marches on, questions ranging from the legal to the political to the philosophical continue to arise. One recent such instance came in the form of a lawsuit filed by the American Society of Media Photographers and other visual artist organizations, who are suing Google for its massive digital book-scanning project, arguing that Google is committing large-scale copyright infringement.  This article in the New York Times details the lawsuit and includes information on a possible settlement that will allow Google to continue scanning virtually every book in existence while providing artists with new ways to profit from their work.  Whatever the outcome of the case, though, it is clear that the current model of copyright law is being forced to evolve rapidly to keep pace with the tremendous legal issues that accompany a technological transformation as large in scale as the digital revolution.  Google’s seemingly inevitable goal, in the words of a University of Colorado professor quoted in the Times piece, “to control…virtually all information in the world,” may end up redefining the entire concept of intellectual “property.”  Essentially, no one will own anything, because Google will own everything.

Google’s dystopic implications are tempered by the insane practicality and amazing access it can provide to the world’s information.  As a historian of twentieth century America, I am in awe of Google’s book and magazine collection, which includes the entire run of LIFE magazine (advertisements and all) on top of hundreds of other titles.  Seriously, it’s amazing; go check it out.

An unavoidable part of living through this peculiar digital stage of human evolution is the growing sense that everything is online. This of course can’t be true, but it’s not going to stop Google from trying to keep an infinity of information within its control.  My own political orientation influences my deep pessimism about the direction of this inarguably necessary enterprise. How comfortable are you with Google’s stewardship of information?   The clip below, from HBO’s brilliantly prescient 1990s sketch comedy series Mr. Show with Bob and David, obscenely captures my perhaps irrational fear that Google is our Globochem…(warning:  adult language, which is kind of the point).

[youtube]http://www.youtube.com/watch?v=Uco5Ed-5y2U[/youtube]

Digital R&R Makes You Smarter

Gaiman Neverwhere
Photo credit Comixology

Recently I was reading a comic book on my iPhone on the subway ride to Brooklyn, and a few people noticed what I was reading and asked me about it. The first person to ask me was someone who had never seen a comic in that format and wanted to know more, so I told him what I was reading and how I had found it using the Comics app I’d downloaded from Comixology. [I didn't mention that I had just learned about the app from Joe Ugoretz's tweet about it -- thanks, Joe!] Later in the same ride, I met a nice guy named Greg who just wanted to know which app I was using to download comics, to discuss with his friend nearby, both of them being great comic book aficionados. It turned out his friend, Karen Green, curates the graphic novel collection for the library at Columbia University and actually writes a column for Comixology called Comic Adventures in Academia.

We talked about what series the two of them were reading, and the ones I had tried in my new exploration of the genre. Comics are a little small in this format, but the iPhone presents them to you one frame at a time in a cool way. From there we moved on to a more general discussion of graphic novels and what they have to offer, including for instructors. I admitted I was a little self-conscious about my students knowing I read comics in my spare time (although Karen Green said, “Don’t be!”) I often find comics that are so well-written I want to share them. Neil Gaiman’s Sandman series, for example, is so literary, so steeped in Shakespeare and classical mythology, that I had wondered if I should recommend it to students. (Karen said, “Absolutely!”) I found her column online later and saw how she takes a proactive role at Columbia in “influencing faculty to use comics in their coursework in innovative ways,” which made me start thinking about how graphic novels could be used in different courses. I think I just like fantasy and science fiction in whatever format it appears: novel, film, graphic novel, digital comic. That’s why I am enjoying the comics app I just discovered, and may start to think of ways to occasionally use comic books in coursework. I have been teaching an online course called Digital Information in the Contemporary World, and it fits in nicely there. In another kind of course? I’ll have to read more of Karen’s column for inspiration.

David Parsons posted here on cac.ophony recently about students bringing distracting gadgets into the classroom, and included some amazing footage of professors smashing the offending technology in front of the class. [Can they really do that?!?] Szidonia in her comment wondered whether overuse of technology shrinks our brains. I guess my own experience with digital comics and graphic novels more generally is that I feel they have worth to me personally and potentially as teaching tools, even though the enjoyment I take in reading them makes them feel like guilty pleasures.

Archiving Tweets

card catalogs
Creative Commons License photo credit: jessamyn

I’m curious what people think about the Library of Congress’s decision to digitally archive every public tweet.

Every public tweet, ever, since Twitter’s inception in March 2006, will be archived digitally at the Library of Congress. That’s a LOT of tweets, by the way: Twitter processes more than 50 million tweets every day, with the total numbering in the billions.

To be honest, I don’t have a Twitter account, I don’t “follow” anyone, and I don’t really “get” the whole tweeting thing.  Obviously, I don’t know enough to have an opinion on this, but I couldn’t help but laugh at this comment made by “Uncle Fred” on a post at the Atlantic about the Twitter archive:

Great, now even future historians can muse over my failed toasted tomato sandwiches.

My questions are for those of you who are, or ever have been, on Twitter: Do you think tweets are something worth archiving? Are there privacy concerns? Will knowledge that your tweets will be archived change the nature of what you write? Any other thoughts or concerns?

in defense of traditional pedagogy (?)

I’m aware that many forward-thinking educators, particularly those of the WAC-oriented ilk, take a critical, if not perhaps disdainful, view of the standard compare-contrast essay. I’m actually not sure what the specific criticisms are, and am hoping this post will spark more discussion about this genre’s merits and problems.

I strongly feel that the compare-contrast essay is, or can be, an excellent way for students to practice, hone, and demonstrate analytic skills. This essay requires them to show mastery and comprehension of material, a grasp of the larger, more abstract concepts, an understanding of the relationship between these concepts, and a recognition of the significance of these similarities and differences.

Apples & Oranges - They Don't Compare
Creative Commons License photo credit: TheBusyBrain

That said, I am often very disappointed in the work that students submit in response to this type of assignment. The majority lack a clear thesis statement, suffer from weak overall organization, show a difficulty identifying the authors’ thesis, struggle with concise yet relevant summaries, and most significantly, seem to break down when it comes to articulating the relationship between concepts. I work hard to help my students make connections between readings, to see multiple perspectives, to understand that every thesis has a counter-thesis, and I’m not sure to what extent I see these efforts pay off in their written work.

Having said that, I ask, am I barking up the wrong tree, clinging to this type of assignment? Is there a better way to help students develop stronger reading, writing, and thinking skills? Perhaps there are ways of framing the traditional assignment that better facilitate the type of end product I am expecting?

(I did use an involved in-class writing assignment today, that was then used for small group work, and which lead to an involved class discussion about relationships between four readings. I think this was successful; however, I’m not sure how that work will be reflected in their formal written assignments.)
Cakewalk Plasma CakeWalk Home Studio Sonar 4 Producer Edition Cakewalk Project 5

Adventures in Blogland

I currently teach two sections of a Composition II class here at Baruch College. My course theme is “Happiness,” and prior to the semester’s beginning, I’d been thinking a lot about the point that Daniel Gilbert makes in Stumbling on Happiness—that all humans need to have relationships with others in order to feel “happy.” Whether or not I agree with this statement is not as important as the idea that perhaps one way to approach the course theme might be to really think about communication and relationships that are constructed purely by language—not by the physical space of the classroom. So, to make a long story short, I began the semester with the idea that our blog would be an active space where the two sections of the one class could meet, write, and think.

I structured my syllabus so that, out of my 54 students, each week, two students from each section would be in charge of posting to the blog, and two per section would be in charge of commenting. I also provided “optional assignments” that students could either use as prompts for writing, or choose to ignore. But, about a month into our foray into blogging, I still felt disappointed by the space. It even felt tense, a huge problem for a class with the theme of “happiness.”

So I decided to confront them, and the quieter of the two sections surprised me by presenting a very interesting critique of our class blog. I asked the class to begin with a “focused freewrite” in which they needed to reflect on how they were engaging with the class blog thus far. Some comments included:

  • “I hate how teachers think that they can become cool by forcing us to use spaces we think are fun to produce more academic prose.”
  • “The blog is nothing more than another assignment. In fact, you even assign us when to write on it!”
  • “I talk in class, I don’t want to talk at home.”
  • “Aren’t these sites public? I heard that no matter how many years pass, if you write poorly on a blog, you won’t get a job.”

I then asked them to reflect on what a class blog should look like (making it clear that I believe in class blogs and have used them for years with a huge amount of success and student enthusiasm). The responses were not all that different:

  • “Nothing can make blogging for class fun.”
  • “Even if you don’t grade us on the blog, we still know that if we don’t write we’ll get penalized.”
  • “I have my own blog, I don’t need another one to write on.”
  • “Why should we have to participate in a communal blog when you, the professor, don’t do anything?”

I was really intrigued by this conversation and thought a lot about it. Why all the resistance, particularly from a class that is on the quiet side, but is also full of students who email me regularly? And, was the other section just being nice? Did they agree? If so, why didn’t they voice their discontent as openly? And, perhaps most importantly, where did I go wrong? What next?

James Hoff posted on a similar topic a while back. He made the interesting point that “despite our increasingly technological lives, or perhaps because of them, the creation and conservation of technology-free spaces where people can, and are encouraged to communicate face-to-face, free of distraction, with nothing more than their unique temperaments and their private store of knowledge and eloquence, seems more and more important to me.” Were the students reacting against the technology or against the pedagogy I’d laid out? To assign or not to assign…is that the real question?

My general belief is that students tend to enter a Composition classroom dreading the act of writing, let alone spending an entire semester doing just that. When I ask my students if they write outside of class they usually uniformly say “no.” But, they also uniformly admit to authoring thousands of text messages, instant messages, emails, blog posts, Facebook comments, etc. And, these things are all forms of writing. So, by using a blog I want to enable students to see “academic writing” differently, to lower the stakes perhaps, or to at least allow them a space where writing for school can masquerade as being fun.

I decided to change the environment. Not the look of the blog, but the look of my pedagogical hand. I sent both classes an email announcing the “rebirth of the Happiness blog”! An excerpt:

  1. The main purpose of this space is for all of us to share ideas and thoughts, and to start conversations across classes. This is an informal writing space—write on what you want, how you want to, just make sure you keep it class/school appropriate.
  2. From this point onwards, there are no specific “blogging” or “commenting” assignments. Since we all lead active lives and must have a lot on our minds, let’s use this space to share some of these things—many of which will organically relate to the theme of our course. Share things you’ve seen, heard, read that you found exciting. Share ideas you might be having. Pieces of creative work…Use videos, images, etc…In other words–just post. Enjoy. Have fun. Play with language.
  3. You are each assigned to blog at least once this semester, and comment at least once, and that schedule still stands. I would encourage you to blog and comment more than that of course.
  4. I will participate in this blogging endeavor in the same way that you do. I’ll make the occasional posts, sharing things that I find interesting, appropriate, exciting. And, I’ll say hello in the comment boxes.

The result—students are posting actively, unpredictably, visually. They are commenting and talking to each other in the comment boxes (although still not as much as I’d hoped). They are sharing Youtube videos, analyzing songs, reviewing movies, etc. The students who say little in class have been posting the most frequently. They are writing well and writing frequently. They are voluntarily sharing their critical ideas about readings from class. So, my lingering question is: can a transparently optional assignment really do that much harm?

Outsourcing

call center
Creative Commons License photo credit: vlima.com

After reading a recent NYTimes article on a company that provided assignment grading for professors, I was struck by my own ambivalent feelings. Having taught writing intensive courses for many years, it seemed like a welcomed relief to be able to send those papers off to professional services and receive them back corrected and commented. “The graders working for EduMetry, based in a Virginia suburb of Washington, are concentrated in India, Singapore and Malaysia,” and go so far as to match the tone of voice requested, whether constructive, formal, informal, encouraging, etc.

The idea, according to EduMetry, is to take paper grading off of our shoulders so that we can better dedicate ourselves to teaching, which I must say is not a bad one. Rarely has traditional paper grading been a rewarding experience for me, and even more rarely has it been a truly educational experience for the student. It seems often to be one of those tasks that belong more to academic folkloric culture than a real pedagogical tool. It’s painful, takes a lot of time, and gives very little return on your investment…

On the other hand farming out grading would in a sense maintain the status quo of paper writing by allowing professors to avoid thinking about the real use of writing in academia. Instead of being rethought and made integral to the teaching practices,  the papers would become some external requirement evaluated by outside graders, and would have no other meaning for the students themselves. Papers would join the ranks of the outsourced products we consume, both in terms of writing and now in terms of correcting.

The underlying question in all this seems to be regarding the status of the paper itself and its actual use. Do we continue assigning traditional papers that offer little pedagogical experience, or do we revise the role of writing and the various forms it can take in the classroom? Services like EduMetry do meet a demand, but is that demand not related to a very uncreative idea of what student papers should look like?

Performing Diasporas: Identities in Motion

Several units at Baruch College, including the Schwartz Institute, are planning an initiative for the next two academic years: Performing Diasporas: Identities in Motion. The broad goal of the project is to raise the profile of the Baruch Performing Arts Center while more deeply integrating the performing arts into the curriculum and the life of the College. We are finalists for a Creative Campus Grant, a competition funded by the Doris Duke Foundation, and organized by the Association of Performing Arts Presenters. The project will proceed even if we don’t get the grant (winners will be announced in August), although the programming will be more robust with the additional resources.

Performing Diasporas is centered around artists-in-residence — in 2010-2011, Maya Lilly; in 2011-2012, Randy Weston; and, both years, Mahayana Landowne — each of whom’s work engages questions of group and individual identity formation. These artists will perform throughout their residencies, and also lead and participate in workshops. Much of the programming, however, will be directed at incoming students. The first year experience for the next two years will revolve in large part around exploration of the project theme: the Freshman Text will be about diasporic identity, the artists-in-residence will perform at August’s Convocation, and significant components of Freshman Seminar and the curricula of selected Learning Communities will be devoted to the theme.

As part of the Steering Committee planning this project, I’m especially excited by a few particulars. Too often the administrative labor of higher education falls into silos whose work is narrowly focused and lacks programmatic coordination with other initiatives at the College. This project is structured to counter that impulse by drawing several partners into a collaborative effort to inject consideration of both the arts and the themes of identity and diaspora into the curriculum. Obviously, this will most directly impact our first year students. But it’s also good for everyone at the College for the various moving administrative parts to find synergies. The project will raise the profile of BPAC, inject the first year experience with a variety of new ideas, and dovetails nicely with Dean Jeff Peck’s Global Studies Initiative.

The project also will also help lead Blogs@Baruch into its next phase. Last Fall, we began supporting Freshman Seminar. 1200 first year students wrote more than 6500 blog posts to 60 weblogs, all of which were aggregated ultimately into a single space. FRO Blogging was a success, if solely because we were able to pull it off with little time to plan. Feedback from last Fall’s students and the Peer Mentors who led the seminars suggested the desire for more creative leeway and fewer required blog posts (students were expected to author at least six reflections on enrichment workshops they attended over the course of the term). The feedback also showed appreciation for the social component of the project; students used their blogging to get to know each other and to form community, something that’s always a challenge at a commuter campus like Baruch.

We’ve redesigned FRO Blogging to incorporate this feedback and to intersect with the goals of Performing Diasporas. There will be three specific components to FRO Blogging in Fall 2010:

  • Students will be required to write blog posts at the beginning and end of the semester reflecting on their adjustment to college and, in the middle of the semester, will post monologues about their own backgrounds that they develop with their Peer Mentors (who will receive training). Selected monologues will be shaped and then performed by professional actors at an end-of-the-semester event: “Baruch’s Voices.” In Spring 2011, students who are interested in performing their own monologues will workshop them and then perform at a series of Coffee Houses.
  • Each seminar will be asked to develop its blog over the course of the Fall semester. We will push this process along by crafting prompts that are distributed weekly and that encourage students to reflect upon and share their own stories. Peer Mentors will guide the process, with assistance, and students will be nudged, but not required. At the end of the semester, the most fully developed sites will be recognized with an award. This is an experiment in voluntary buy-in, and we realize that student investment of effort will be uneven. Yet, the constraints of a non-credit course make this approach necessary, and the goal is less to have students develop polished public spaces than to get their feet wet thinking critically about how to present artistic and intellectual material on the open web.
  • Finally, I’m excited to note that we’ll be rolling out BuddyPress this Fall, which will add a social networking layer to Blogs@Baruch, and afford students additional opportunities to connect with and get to know one another.

Ultimately, what I like most about this project is that it treats our students as creators and makers of knowledge, not merely as consumers. Baruch students are among the most interesting students in the world, and yet few of them seem to realize this (in fact, that’s one of the things that makes them interesting). Performing Diasporas, because it will draw our students inside productive processes and creates multiple opportunities for them to see and share the art in their own lives, is going to be something special to watch.