Originally Published in 2012
Like thinking, reading in the 21st century is different than over the centuries past, infinitely connected to an increasingly visible network of physical and digital media forms. So, in this context of media abundance, what does the modern reader of the 21st century look like?
There is art and science for media design.
Media (singular middle) refers to the deliberate communication of a thought or idea. Thus, tweets and novels are both media, as well as poems and interactive deadlines, websites and short stories, paintings and graffiti, speeches and videos on YouTube.
The differences between these media are hidden in their purpose and the audience, duration and intensity, tone and structure, along with countless other obvious and less obvious components that can be skillfully manipulated on design issues. One of the most visible transitions to the “21st Century” reading and writing curriculum (or, as we look at it, Authentic curriculum) Includes the evolution of media perspective.
The media are and have always been central in the reading program for writing reading. Moby Dick., The road is not a poet., To kill a mockeryS The initial, basic recommendation will then include how teachers choose this media, which ends central in so many lessons and units.
This is important to clarify: the media is the star here, and the purpose of the teacher is to support students in the processing of these media: identify, analysis, evaluation, revision, rearrangement, etc. On the ladder of Bloom. (For now, we will skip the potential of students to control the media they consume.) Beyond this basic, telling-to-I don’t know a recommendation to be deliberate when choosing powerful, appropriate and “fertile” media, there must first be a necessary change in the paradigm in the way we consider the term media.
Moby Dick, though neither dead nor irrelevant, lives in a new context. As a text, it is well -known and has a place in the reading/writing/literature curriculum. But in new forms, with new maintenance systems and new circumstances.
Media as a term
When computers first entered the mainstream (back, when Radio Shack was selling Tandy Computers for $ 8500), the term “multimedia” appeared. Unlike the one -text of a novel only for text, now text, sound, images and video can be combined and manipulated in new ways. However, somewhere along the line, reading/writing/literature stopped, just using these classic texts, but seemingly became the property of them. (What happened to the idea of individual literature, composition or even classes of logic-not necessarily complete triumvate, but in that direction?)
Class Reading on Fahrenheit 451 passed into literary circles reading DonorThe book reports were melted in PowerPoint presentations or even web quests, but the central nucleus was still a text, written generations – even centuries ago – in the form of people of time, much more different than those who use information today. This does not mean that such media is powerless but simple out of focusTherefore, it should be used in new ways as long as a relevance with an innocent audience, excluded from its forms, its structures and its media “models” is sought.
The change in media forms is a by -product of rapid technological progression, and this has certainly been the case in the last 25 years. Over the last 5 years, the emergence of social media has added extra wrinkle (and countless teaching opportunities) to the mix, but with these transitions, this constant evolution, the red herring here involves the misleading concept of technology. We will look at the changing media forms, especially the phenomenon of social media in a separate work, but for now, think that technology is an instrument that allows new forms of media to develop, to cause our collective creativity and to press the limits of the exchange of ideas forward.
However, it’s just that – an instrument. Although it is tempting to fall in love with the brilliance of the instrument itself, it is cognitive and creative work and design that really require our attention as teachers. If humanity moves away from technology tomorrow to maintain authenticity The training will require the adaptation of our curriculum, our instructions for instructions, etc. to eliminate technology; Instead of teaching technology then, we teach with technology.
That is, teachers use technology because those we want to train to use it, which brings us to the idea of the scheme.
Medium as a scheme
There are strikingly interesting philosophical treatises and analyzes of cognitive psychology from Kant to Piaget, who deal with the concept of the scheme. (Sometimes disappointing) ambiguous term (which Marzano briefly turns into “the art and science of teaching” (p. 59-60), scheme refers to a cognitive native framework for making sense of ideas; That is, roughly speaking, the existing “things in our head” help us to think of new things. (The tangent concept is one of the previous knowledge.) That is, we cannot make sense new ideas unless we cannot assimilate them with what we already know – by observation, analysis, merger, comparison, contrasting, categorization or other formation formation relationshipa ship.
Thus Square helps us to understand a rectangle, Cat Provision Everything that rises must be closerS This constructivist line of thought reveals that at least to some extent learners are constantly upgrading existing ideas through the aforementioned observant process -> connected, even when ideas and concepts may look different (verbs and allegory).
So what does this have to do with the media and ELA? To put it simply, we came behind the curve regarding how we look at the media and on a wider scale how we look at the purpose of the arts in English.
In Unscrewing: A book of resources to teach thinking Edited by Art Costa, Barry Bayer contributes:
“Because thinking skills are closely bound (in the mind of the learner) with the context or content in which they meet first, their application is not easily transferred to the other, especially remote context or content.” (398-399)
Beyer continues to discuss the practices of continuous bridge and direct transfer. Here Bayer tries to emphasize first transfer As a pedagogical reality and then finally, start laying the foundations for students’ education so that they are able to do it themselves. Although it is part and a parcel for all training, officially and informally, it refers to our concept of media in the arts in English, as we often ask students to “go too far” in this “transfer”.
Why not “live” in your native media? If we can resist this generation of argument for a moment, in which we have erected text messages and mobile phones and glorify novels, but rather at the best “encounter them where they are”, rethinking and re-approval of the roles, so that they do not have to do it. The summons that the student learned mathematics so that he could “balance his checkbook” is a free argument.
Moby Dick’s themes for introspection, intellectual struggle and religious doubt are really relevant if we can just give them a chance. So then we can consider Moby Dick a single image in a rich tapestry rather than one image and one goal. In this way, teachers can use the interdependence of all media forms to their advantage – one form to illuminate another,
Structure. Theme. Bias. Syntax. Diction. Author position. Supporting evidence – all universal components of media design.
And we have to do this not just because teachers can then use these forms to lure students to learn what we want from them, but because we actually teach what matters. “The teaching of meaning” in silver, strong and perinas remains what should be considered seminar, to predispose to work on all issues of the creation of the curriculum and the design of the instruction.
That is, we can support students in identifying media forms and structures, concepts of audience and purpose, thesis and thesis development, choice of language, tone and mood – all classic literary principles – but we rethink how we use the concept for the media to make it happen.
Conclusion
The reading/writing/writing/writing teacher of the 21st century does not accept blind technology or reject Shakespeare, but more recently searches authenticity In all matters of education, starting with the curriculum.
Th But Rather Immerse Learners in Intellectual Rigorous and Interesting Media-Centered Environments Where Relevancy Is Immediately Visible, Transfer Is Persistent, and Students Move Aw To Adopt New Perspectives As Active and Self-Monitoring, Self-Sering users on a variety of information on a global scale.
Then Moby Dick is not as dead as it is impatiently looking for an audience with the learner of the 21st century, and this is our accusation as teachers – through technology, a new emphasis on the scheme and a new goal for intellectual, cultural and media diversity – to adapt creatively. If this happens, the school will stop to become a “school”, a sterile area of official thought and content and will become a flexible system that will support students to become a media-ie, is, Curious and literate information users.
Something that seems to have been forgotten in the content of skills, the 21st century against the core or the “classic” educational argument is the student and their native context. The role of the game and the idea of ”non -formal learning” are powerful, insufficiently used concepts, absolutely important, since we strive to innovate what is the most mediocre industry for reading and writing public education.
Image Attribution Users Flickr Flickeringbrad, DavidniksonvScanon and Opalsonblackdotcom
