Wrapping it up

Well, Friday (April 25) was the last day for timeline posts in class this semester. The 19th-century students are to incorporate a contextual element in their final projects, but otherwise, the teaching part of the timeline beta test is pretty well complete for Spring 2008.

The 19th-century course generated 130 posts for 10 assignments, including those that I posted myself. The cinema course, with 17 students and only 4 assignments, generated 102 posts. Here’s a shot of the wall for 19th century, with its 130 bits of paper.

I will be presenting my experiences and results to interested faculty here at Whitman tomorrow at noon. I’ll be blogging about that, and about my plans for the next round of testing. We also have a presentation at Pomona on May 22, and at UPS on June 12.

What’s new in red

Well, we changed the color for the “what’s new” from green to red. Green was very friendly, very appealing — but difficult to see in the lower band, since it was too close to the blue. Red is admittedly less friendly, but shows up very nicely on the lower band.

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Also, the Ostermonster has fixed the problem with double quotes. We can now use double quotes in the title, source, and more info fields without losing information.

Flow chart of Timeline posts

Another flow chart is in. I blogged about the first one here. These are so exciting to look at. This one follows three different posts, each with a distinct type of trajectory. I’m going to link to the map here through a thumbnail, and then discuss it using a transcription, since it won’t fit easily into the blog window.

ryans-outline-for-french-timeline.jpg (Click on the thumbnail for a fullsize image.)

The trajectory of the first post to be described (in green on the map) is listed as follows:

Bloodletting scene in Madame Bovary → 19th-century medical knowledge, tools → List of contemporary North American doctors’ tools and techniques of bloodletting → New post (with picture.)

Let’s follow this one from the beginning. Here is the passage from Madame Bovary:

Charles came into the room. Monsieur Boulanger introduced his man, who wanted to be bled because he felt “a tingling all over.”
“That’ll purge me,” he urged as an objection to all reasoning.
So Bovary ordered a bandage and a basin, and asked Justin to hold it. Then addressing the peasant, who was already pale—
“Don’t be afraid, my lad.”
“No, no, sir,” said the other; “get on.”
And with an air of bravado he held out his great arm. At the prick of the lancet the blood spurted out, splashing against the looking-glass.
“Hold the basin nearer,” exclaimed Charles.
“Lor!” said the peasant, “one would swear it was a little fountain flowing. How red my blood is! That’s a good sign, isn’t it?”

And then here’s the post:

bloodletting_post.jpg

If we look at the flow chart and then compare the post to the source text, we see how this example shows how a very specific point from the text expands to a much larger topic (19th-century medical practices) and then comes full circle to the specific tools and practices of bloodletting.

The second example from the flow chart comes from our discussion of a rather astounding text by Jules Michelet on love. Here is the transcription from the flow chart:

Concept of Marriage in Michelet’s “On Love” → “Marriage is hard to analyze factually. What kind of related trends are we seeing in society? Birth rates? Contraceptives?” → Prostitution “I’m gonna get teased for this in class…” → Civil authorities cracked down on prostitutes to control the spread of syphilis… never mind the moral issues… → New post.

This example follows the opposite trajectory as the post on Madame Bovary, insofar as here the student began with a very general topic (marriage is one of the main topics of Michelet’s text,) and then looked for specific angles from which to understand the context of this (to 20th-century eyes) very odd treatise.

Another interesting aspect of this particular example is the way the student has included their train of thought in the sequence, as a way of explaining first a brainstorming process (birth rates and contraceptives as potential search terms) and then a selection process. Furthermore, the phrase about being teased in class here points to the role of the eventual public presentation in the selection process (note, however, that while the student did think they would get teased, their anxiety was not such that they hesitated to post to the timeline, present in class, or choose this example for their flow chart!)

I am pasting in the text from the resulting post here, rather than a screen shot, since there is no image (perhaps fortunately!)

Syphilis, Morality, and the Law
Jan 1, 1871 – Jan 1, 1903

A major concern during the 19th century was Syphilis. The disease causes the infected person to have (among other symptoms) genital sores and rashes all over the body. In the case of pregnancy and birth, Syphilis can also lead to still births and babies unable to survive very long after birth.

Throughout the West, the 19th century saw a strong focus on controlling sexuality and sexual practices. The disease was associated with immorality in that it was spread through the practice of having sex with multiple people rather than only a spouse.

French police and government administrations were particularly aggressive in trying to tackle this problem. They issued identification cards to prostitutes and conducted “weekly checks for sanity.” Any prostitute failing this examination would be carted off to jail. From the article by Gérard Tilles M.D:

The sanitary control of the prostitutes took place in awfull conditions. The prostitutes identified by the police by individual cards were subjected to weekly medical examination. Once syphilis was suspected, the patients were called in at a special infirmary, created in 1843 and located in the Headquarters of the Paris Police (Pr&eacutefecture de Police) 13. Then, after being controlled by the police, a physician appointed by the Police department conducted a physical examination strictly scheduled, each practitionner having about 1 minute per women at his disposal14.

After this very short examination, the patients regarded as ill, were driven in a police van used for murderers or thieves15 ” to special departments of general hospitals and after february 1836 to the newly created infirmary of the Prison-Hospital Saint-Lazare. In that way, from 1871 to 1903, 725 000 women being of age or not were arrested.

(Testing note — this was entered without an end date, the system inserted 1903 as the end date, which made it a duration event but one that wouldn’t display. All that’s fixed now, but boy…)

(side note #2 — for the same class period, this student posted a picture of the first commercial diaphram from 1882, a direct spin-off from the research path described above.)

The third and final example from this student’s flow chart deals with a post that actually begins with another post — Darwin’s Origin of the Species. I am including that post here, because it’s been up on the wall in the classroom almost since the beginning, and I suspect that the picture was what drew the student’s attention initially :

darwin_post.jpg

Here is the progression from the flow chart:

Darwin’s Origin of the Species in conjunction with Homais’ fascination with science and progress in Madame Bovary. → Louis Pasteur and the “Germ theory of disease.” → New post (with picture of Pasteur.)

So, Homais + Darwin = Pasteur (just kidding!)

pasteur_post.jpg

In this case, all of the most interesting stuff happened in class, and not even in the same class as the post presentation. The student brought Pasteur back in for the discussion of Hippolyte’s gangrenous foot in Madame Bovary, along with a much more complete explanation of the impact of germ theory than is given in the actual post.

Overall, both concept maps submitted so far clearly demonstrate a critical telescoping process, from the larger picture to the detail and back to the larger picture, or inversely, from the detail to the larger picture and back again.

This is really exciting.

Concept map of a timeline entry

I discussed the “ripple effect” self-assessment with my literature class and asked them to choose one of their entries and map out the progression leading to and from the post. I used the ripple effect diagram as an example, but encouraged them to modify it as they wished, the goal being a concept map of their intellectual experience.

Since this was the week before spring break, there are still a few outstanding. ;-) But the first one to come in is brilliant. This is the post that it attempts to diagram:

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And here is the student’s representation of what went into — and then came out of — that post.

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I added the numbers in photoshop. As you can see, the student decided that the distinction to be made here was the link between in-class and out-of-class experience. I particularly like the “zoom in” metaphor for the transition from general information to researching a specific topic, in step 3. The student specified that they had not picked up on the importance of the theme of intoxication in the poetry itself (step 4) until they brought in their timeline post and we discussed it in class. Furthermore, though it is not specified here, the larger discussion about 19th-century medical practices and Madame Bovary (step 6) was initiated by another student’s post, which actually contained an image of bloodletting tools.

There’s a very interesting shift in information authority with this exercise. While I am still providing substantial amounts of contextual information in response to the actual discussion of the timeline posts, the students are nonetheless systematically coming in with information that I did not know. That in and of itself is not surprising, of course. I believe that the striking difference comes from the fact that they are thus rendered, on a very small scale, the expert of the day. This is extremely valuable, because it takes a situation where it is very rare for a student to truly surprise me with an observation about a text we are reading together, and transforms it into a situation where that happens weekly, but without undermining my role as primary reader. These are genuinely collaborative moments, happening every week.

Finally, I want to post one more screenshot, because the opium post wasn’t the only piece of information added to the timeline that day by that student.

syringe_screenshot.jpg

This is important, because what the student actually mapped was the whole experience, not just the single post. While steps 3 & 5 ostensibly lead to the post on Baudelaire and opium, they also spin off into a side post about the invention of the syringe, posted at the same time.

Cinema wall up and running

Last Wednesday I put up another foam core timeline wall, this one for the cinema course. We mounted it on brick using some kind of magical 3m mounting tape. My theory is this tape is going to be there long after the building crumbles, but it’s what the physical plant people recommended, so hey. 24 feet long, marked for 1930-2000 in 5-year increments.

So, to review, I’ve now assigned 2 rounds of the timeline to the cinema course. The first round, we did a “show and tell,” but using just the projector. No one could actually read the screen, no one would admit that they couldn’t read the screen (and then have to get up and move) — it was mostly tell, with not much show, and very static.

So then I put up the foam core.

blank cinema timeline wall

Then, on Monday, we did show and tell of round two of the timeline. It went great. The wall now looks like this:

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The pinups represent both assignments — I printed everything from round one and brought it in as well.

Round two was a slightly more focused assignment. Students were asked to post movies related to the French New Wave, with a brief synopsis and poster, and situate the movie in relationship to the course material. We had a pinup party, and then each person presented their post. I did not let them return to the wretched desks for the whole time. They could sit, stand, lounge, lie on the floor if they wanted — but not go back to those energy-sucking desks. Now, what’s really interesting about this is that no one could read these pieces of paper either — but it was very much my impression that they were engaged, far more engaged than when individual posts were up on the big screen, and individual behinds were stuck to the individual chairs.

I used the posts, and the individual presentations, as the framework for my introduction to the New Wave. For an hour, we moved back and forth pretty smoothly, between student presentation, instructor presentation, and group discussion. So, for example, one post begins like this :

“La Pointe Courte
Jan 4, 1954

This film was the first of filmmaker Agnes Varda, one of the only female directors of the era and arguably one of the heralds of the French New Wave, despite the fact that this film was released before the generally-agreed upon beginning of the movement, which came with “Le Beau Serge” by Claude Charbol.”

Jumping off from this point, we discussed the New Wave as a descriptive category (a group of movies with a set of common traits) vs. a prescriptive category (a group of movies made by a bunch of guys calling themselves the New Wave,) and how this relates to the question of Agnes Varda’s status as a “New Wave” filmmaker. More Frenchness ensued, but you get the idea.

Here’s a closeup of the New Wave section of the New Wall.

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Seriously cool.

“When” are we?

Take a look at this picture of the wall:

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Now, besides shivering at the institutional lighting (the picture was taken at night,) notice the cluster of events at the left. Events taped up above the actual line precede 1847, our start point. On the far right, you can see a few lonely posts that come after 1872, which is when this line stops.

Why is this interesting? Well, this picture was taken at the end of the third week of the semester, which is to say two weeks into using the timeline. What are we reading at this point? Well, we’ve read some chunks of Les Misérables (published in 1862), and we’re partway through Madame Bovary (published in 1857). We’re in a course about the literature of the Second Empire in France. What you’re seeing on the wall is a mere pittance of posts about the time period when these novels were published and read, and a great flurry of posts about the time period in which they are set. The students are principally interested in researching the details of Jean Valjean and Emma’s lives, not the details of Victor and Gustave’s lives. Except, um, Jean Valjean and Emma are fictional.

I don’t see this as a problem. I certainly haven’t done anything to discourage it. However, it does bring up a feature we’ve been tossing around, which is how to represent different categories of knowledge. On the simplest level, that could mean using blue dots for literary events and green dots for scientific events and so forth. This has great potential to be unmanageable, especially since once multiple courses are using the timeline, those colors could be assigned to mean different things in different courses. Here, blue means literature, but over in the science building, blue could mean reptilian. You see the problem.

But looking at this wall, I see the clear need for at least two categories. One category to represent the history of the world in which we live – and another category to represent the real historical context of fictional characters. When Emma was born, for example. Except that she wasn’t. We’ve a post up there (my own, even!) that tells when Jean Valjean got out of prison. It’s an interesting puzzle, because Hugo situates it very specifically relative to the final days of the Empire, but at the same time - it never happened.

Finally, it’s a note to anyone who is trying to decide how many sheets of foam core to hang on the wall. The timeline on our wall covers the 2nd Empire (1852-1870). We’ve spent most of our time recently in the 1830s… with Emma.

Pictures of the physical wall

Here’s a couple of shots of what the wall looked like a week ago. My bad – I forgot to take a picture of the wall when we first put it up, but this will do.

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“Defense d’afficher”

Well, we did it! We printed out our entries so far and taped them to the wall yesterday. It turns out that thumbtacks are longer than the foam core is deep, so we used tape instead. The new print function is just great over half the time. If there’s a picture and very little text, it’s a bit silly, because there’s all this white space. I’ve been snipping the caption from the left and taping it to the bottom of the picture, to save real estate on the wall. I also used screen capture to print some of my more recalcitrant formatting problems. The difficulty with the screenshot approach is that you have to hand edit out the identifying information, which is annoying and unreliable (as we humans generally are).

So, the format we are going to follow is that on the day the timeline assignment is due, you have to print out, AND TRIM (we discovered that doing the cutting in class is far too slow) your timeline entries and bring them to class. Then we post them, and have a short show-and-tell session, where each person indicates what they have added that week and explains how they came about that piece, how it relates to the course, and describes some of their thought process.

One immediate consequence of having actual events on an actual wall has been in how I inhabit the mental space of the classroom differently, because now as I talk, I can POINT, to 1848! We can walk up and down the wall, discussing things. Kinesthetic. Marvelous.

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