Transliteracy- QR Codes and Art

Transliteracy is defined on Wikipedia as

The ability to read, write and interact across a range of platforms, tools and media from signing and orality through handwriting, print, TV, radio and film, to digital social networks. The modern meaning of the term combines literacy with the prefix trans-, which means “across; through”, so a transliterate person is one who is literate across multiple media.

Ryan Nadel, in an interview on Spotlight on Digital Media and Learning, defines transliteracy even further:

“The most fundamental notion of transliteracy is the ability to adapt. It’s creating a literacy and fluidity between mediums that’s not tied to space or modality.”

I agree with Ryan: Transliteracy is closely related to “fluency“:

• the ability to know when to use one media over another
• the ability to move effortlessly between media
• the ability to comprehend, build upon, and remix different kind of media
• the ability to relate, communicate and connect via multiple forms of media
• moving between media feels: intuitive, unconscious and smooth

Let me share a transliterate learning opportunity with you that I created (Art, iPads, QR codes, Language Arts and Digital Storytelling)  in collaboration with our Art teacher, Mrs. Gutterman and the 4th grade classroom teacher, Mrs. Teitelbaum?

During Art class, fourth graders adapted Vincent van Gogh’s chairs and placed things on and  around them that were important to them.

In Language Arts, students wrote a script, explaining their choices of what they drew and why it was important to them.

We all gathered in the library to record their script as an audio file on the iPad. We used the AudioMemos app (free) to record. Students then emailed the wav file to me.

1. I then converted the .wav files to mp3 files with Garageband, since I did not know if all mobile devices would play .wav files easily.
2. These files were then uploaded via FTP to our school’s server
3. I inserted the URL of each mp3 file into http://goo.gl
4. Clicked on “Details” to get to the generated QR code
5. Saved the QR codes as an image file

I inserted the images into a page and then printed the QR codes out for the Art teacher to attach them to the original art work.

Now anyone with a QR scanner on their Smartphone, iTouch or iPad walking by the art work, can scan and listen to the student artist’s audio reflection. The next step was to create a poster to catch the attention of the visitors and parents walking by and give a short explanation of what to do with the QR code

Global Project- Teddy Bears Around the World in its 4th Year

If you are looking to weave global awareness & collaboration into your elementary school classroom, consider participating in the

Teddy Bears Around the World Project

For the forth year, Teddy Bears from around the world are contributing images about their travels, traditions and customs to this blog.

Currently, there are contribution from the following categories:

About the Project:

Teddy Bears Around The World started as a project with a school mascot called Jose,  the travel bear, who enjoyed roaming the world, getting to know new places and meeting interesting people. The Teddy Bears Around the World blog provides the space to hang out and communicate with different teddy bears around the world to hear more about their lives and adventures. This will allow our students to see each other’s countries, customs and traditions through the eyes of our teddy bears and open their horizons through a more global perspective.
The idea is to have an ongoing exchange (no deadlines, no pressure) to contribute stories, photographs, videos or podcasts.

These contributions can be from the teddy bears point of view or from the students’ point of view telling a story ABOUT their teddy bear. We could have seasonal posts or specific story starters, such as:

• Teddy celebrates Thanksgiving in USA (other country specific holidays)
• Teddy is going to the movies
• Teddy’s Eve tradition
• Teddy and his favorite foods
• Teddy looses his first tooth
• Teddy watches TV
• Teddy’s favorite fairy tale
• Teddy celebrates his birthday
• Christmas trees around the world

There is no need to send a Teddy Bear to another school or teacher. All you need to do in order to participate is to register via the Contact Form, integrate writing and documenting (via images, videos or audio) the adventures of your own class’ teddy bear.

• Fill out the form.
• You will be contacted (at the e-mail you supply in the form) to submit an image of your Teddy Bear.
• Once the image has been submitted and has been approved, it will be placed on the Teddies of the World Gallery Page and a placemark will be created on the Where in the World Map.
• You will then receive a username and password for this blog to upload your own posts AND that allow your class to comment on other teddy bear’s posts.
• Your posts could be about life in your part of the world. They could include traditions, holidays, day to day life , school events, etc.

So how about it? Are you an elementary school teacher who wants to get involved in a project that practices:

• writing skills?
• media skills?
• collaboration skills?
• geography?

and exposes your students to

• local & community awareness?
• global awareness?
• being globally connected?

The Teacher as a Conductor of an Orchestra

Should Teachers Be More Like Conductors? This bog post from 2009 took me to the following TED talk by Itay Talgam.

Although I am not a musician, nor listen to much classical music, I was mesmerized. This TED talk was geared towards organization leaders, but I so agree with Tania Sheko, that it seemed to directly speak to me as an educator.

Click to enlarge image

I am quoting the following passages that made the connection to teaching and the classroom for me:

The magical moment, the magical moment of conducting. Which is, you go on to a stage. There is an orchestra sitting. They are all, you know, warming up and doing stuff. And I go on the podium. You know, this little office of the conductor. Or rather a cubicle, an open-space cubicle, with a lot of space. And in front of all that noise, You do a very small gesture. Something like this, not very pomp, not very sophisticated. And suddenly, out of the chaos, order. Noise becomes music.

Carlos Kleiber clip:

But what about the conductor? What can you say the conductor was doing, actually? He was happy. [...] he’s spreading happiness. And I think the happiness, the important thing is this happiness does not come from only his own story, and his joy of the music. The joy is about enabling other people’s stories to be heard at the same time.

You have the story of the orchestra as a professional body. You have the story of the audience as a community. Yeah. You have the stories of the individuals in the orchestra and in the audience. And then you have other stories, unseen. People who build this wonderful concert hall. People who made those Stradivarius, Amati, all those beautiful instruments. And all those stories are being heard at the same time. This is the true experience of a live concert.

Richard Strauss clip:

Did you see him turning pages in the score? Now, either he is senile, and doesn’t remember his own music, because he wrote the music. Or he is actually transferring a very strong message to them, saying, “Come on guys. You have to play by the book. So it’s not about my story. It’s not about your story. It’s only the execution of the written music, no interpretation.” Interpretation is the real story of the performer. So, no, he doesn’t want that. That’s a different kind of control.

Herbert von Karajan clip:

[The players] look at Karajan. And then they look at each other.  [...] And after doing that, they really look at each other, and the first players of the orchestra lead the whole ensemble in playing together.

And when Karajan is asked about it he actually says, “Yes, the worst damage I can do to my orchestra is to give them a clear instruction. Because that would prevent the ensemble, the listening to each other that is needed for an orchestra.” [...] Meaning that you know you have no authority to change anything. It’s my music. The real music is only in Karajan’s head. And you have to guess my mind. So you are under tremendous pressure because I don’t give you instruction, and yet, you have to guess my mind. So it’s a different kind of, a very spiritual but yet, very firm control.

Carlos Kleiber clip 2:

I’m opening a space for you to put in another layer of interpretation. That is another story. But how does it really work together if it doesn’t give them instructions? It’s like being on a rollercoaster. Yeah? You’re not really given any instructions. But the forces of the process itself keep you in place. That’s what he does. The interesting thing is of course the rollercoaster does not really exist. It’s not a physical thing. It’s in the players heads.

And that’s what makes them into partners. You have the plan in your head. You know what to do, even though Kleiber is not conducting you. [...] And you become a partner building the rollercoaster with sound, as you actually take the ride. This is very exciting for those players. [...] It is very tiring. Yeah? But it’s the best music making, like this.

Carlos Kleiber clip 3:

What happens when there is a mistake?

Again you see the beautiful body language.  And now there is a trumpet player who does something not exactly the way it should be done. Second time for the same player.  And now the third time for the same player. When it’s needed, the authority is there. It’s very important. But authority is not enough to make people your partners.

Carlos Kleiber clip 4:

Kleiber not only creates a process, but also creates the conditions in the world in which this process takes place. So again, the oboe player is completely autonomous and therefore happy and proud of his work, and creative and all of that. And the level in which Kleiber is in control is in a different level. So control is no longer a zero-sum game. You have this control. And all you put together, in partnership, brings about the best music. So Kleiber is about process. Kleiber is about conditions in the world.

Lenny Bernstein clip:

You need to have process and content to create the meaning. [...] Lenny Bernstein always started from the meaning [...]  you can see the music on his face. You can see the baton left his hand. No more baton. Now it’s about you, the player, telling the story. Now it’s a reversed thing. You’re telling the story. And even briefly, you become the storyteller to which the community, the whole community, listens to. And Bernstein enables that. Isn’t that wonderful?

I am preparing a pre-conference workshop for Building Learning Communities Conference in Boston at the end of the month. The title of my workshop is: Orchestrating the Collaborative Classroom

Collaboration is one of the most sought after skills in the 21st century. How do you transform your classroom into a collaborative community where each student is empowered to contribute and to take ownership of their learning? How do you become the conductor of an orchestra full of “unique instruments and musicians”?

This session will share examples from the classroom where students take on “jobs” to become part of that orchestra. We will look at and play with different “instruments” that are uniquely tailored to encourage collaborative work. Participants will explore how they can use classroom time as rehearsals in order to prepare their students for a 21st century concerto.

I think snippets from the above video will spur some great conversations…