A very wonderful holidays and a very happy new year to all of you,
from Shreya, Soham, Smita & Punya

Just a few comments on the making of these videos. First, all our new-year videos are stop-motion videos. That’s how we made the first one and it has stuck. Second, all these videos are somewhat typographical in nature – playing with words and their representation. Third, these videos rarely feature us either individually or as a family. A hand or a still-frame may show up once in a while but for the most part our videos are made with inanimate objects.

This year I tried to change all three of these, suggesting that we make a live action video, with us as actors – and have some kind of a puzzle that was not related to words. After spending days thinking about this, working with various ideas, this whole line of thought was vetoed down by both Soham and Shreya. It was interesting to me that over time we had not only become a family that makes videos but a family that makes stop motion videos! How cool an identity is that! Of course, this meant that we then had to start over from scratch to come up with something that fit what we had done in the past.

Speaking of videos made in the past, you can see them by following the links below:

• Happy 2011 (last year’s stop motion card)
• Happy 2010 (stop motion card made in 2009)
• Happy 2009 (stop motion card made in 2008)
• Explore | Create | Share (3 short videos with typographical twists at the end)
• Finding Nemo, the sea-quel (a stop motion sequel to Finding Nemo)
• Shreya’s friends animate their names
• A commercial mashup
• or, view the complete collection (including the great Hari Puttar trailer)

This was one of the most pleasant and professional interviews I have ever been involved in and I like how the final video has turned out. I think it is a pretty good introduction to not just the TPACK framework and our conceptualization of its development but also to our recent work on 21st century learning, creativity and trans-disciplinary learning. Enjoy.

What you need for this is a drawing/sketching App that allows you to draw in layers. You place your photo on one layer and draw on the layer above it. This way you don’t mess up the photograph and you can separate your sketch from the photo. Once you are done, all you do is delete the photograph-layer and there it is, a lovely (well that’s subjective) hand-drawn sketch.

As you can see I started with simple line-drawings, and over time have tried branching out a bit, through the use of shading and now, even color.

A typical sketch takes around 20 – 30 minutes (sometimes less) – and I have found it just a fantastic way to relax. Creative relaxation… what else can one wish for.

Enjoy

Sketching on the iPad, a set on Flickr.

The design of our program is very carefully thought through—driven both by powerful theoretical ideas grounded in the pragmatics of teaching and learning. Just this week I found out that a paper we had written about the kinds of activities we do in the MAET program just got published. If you are interested in teacher education and teacher professional development or specifically in the MAET program please check out:

Koehler, M.J., Mishra, P., Bouck, E. C., DeSchryver, M., Kereluik, K., Shin, T.S., Wolf, L.G. (2011). Deep-Play: Developing TPACK for 21st Century Teachers. International Journal of Learning Technology, Vol. 6, No. 2. 146-163. 

Abstract: A key complication facing teachers who seek to integrate technology in their teaching is the fact that most technologies are not designed for educational purposes. Making a tool an educational technology requires creative input from the teacher to re-design, or maybe even subvert the original intentions of the designer. The learning technology by design (LT/D) framework has been proposed as being an effective instructional technique to develop deeper understanding of technological pedagogical content knowledge. In this paper we expand our description of the LT/D technique to develop what we call a deep-play model for teacher professional development. The deep-play model integrates: (a) pedagogy for key 21st century learning skills; (b) content that cuts across disciplines with trans-disciplinary cognitive tools; (c) technology by the creative repurposing of tools for pedagogical purposes.

Please let me know if you would like a copy of the paper.

Steve Jobs retired as CEO of Apple this past week. The Wall Street Journal marked this event by creatingSteve Job’s Best Quotes compendium. There are all worth reading – but a couple stood out for their connection to this course.

Creativity is just connecting things. When you ask creative people how they did something… It seemed obvious to them after a while. That’s because they were able to connect experiences they’ve had and synthesize new things. And the reason they were able to do that was that they’ve had more experiences or they have thought more about their experiences than other people. [Playboy, Feb. 1, 1985]

A large part of my creativity course, CEP818, (announcement here) has this idea of creativity as “connections” at its core. One of the goals of the course is to provide a set of trans-disciplinary tools that can help increase the possibility of making such connections.

And finally, here’s my personal favorite quote from Jobs that speaks to the ethical and aesthetic dimensions of the work we do (be it design or teaching).

When you’re a carpenter making a beautiful chest of drawers, you’re not going to use a piece of plywood on the back, even though it faces the wall and nobody will ever see it. You’ll know it’s there, so you’re going to use a beautiful piece of wood on the back. For you to sleep well at night, the aesthetic, the quality, has to be carried all the way through. [Playboy, Feb. 1, 1985]

We hope you have had a great summer are ready to get back to school! We (Punya Mishra & Kristen Kereluik) will be your instructors for CEP818.  You can find out more about us by visiting our websites. This note is to welcome you to the class and offer some specifics about what you will need to do before class starts. Please read this note carefully since it contains important information on things that need to be done before the class starts.

As you may know, CEP818 is a fully online class; there are no plans to meet face-to-face, unless that includes our digitized photos beamed over the Web. We will begin the class on Wednesday, August 31. Please note that the class will NOT be conducted through ANGEL. We will send you an email (to your MSU address) with the more details closer to the start of the semester. For now, we provide a little bit about the class followed by some information about what you need to do to prepare for it.

Creativity is of increasing importance to educators, both for their professional success and that of their students, particularly given the complex, rapidly changing world we live in. The emergence of the knowledge economy (and the knowledge worker) means that tasks are rarely “given” or structured. We are now expected to operate in a complex and chaotic ecology where our very survival and personal identity is tied up in improvising knowledgeable answers to largely unanticipated problems. It has been argued that the solution to these concerns is an increased emphasis on creativity.

So, how is it that you can start to think more creatively for yourselves, apply those methods to your teaching, and pass on some to your students? Well, it is really, really easy (well maybe not really, really easy, but it is often not as hard as we make it out to be). It can also be a lot of fun.

A critical part of becoming creative is being able to play—particularly with ideas or concepts – and feel comfortable in doing so. The activities in this course will seek to develop such an approach through, what we call, “thinking tools.” In an interactive series of modules we will explore these tools and their relationship to creativity. Each of the issues/topics will also be illustrated with multiple examples from the world of education, psychology, and business, interspersed with games and puzzles connected to the ideas being discussed.

Here are some things we would like you to do to prepare for 818:

• Buy (or otherwise obtain) the book: Sparks of Genius: The Thirteen Thinking Tools of the World’s Most Creative People by Robert and Michele Root-Bernstein. This will be our core text. Note: Amazon.com lists the book for as low as $5.50, though you may have your own favorite bookstore. You are not required to have to have read the textbook before class – but feel free to dip into it…
• Be prepared technologically:
• Have a computer with a high-speed Internet connection, a standard productivity suite (word-processing, presentation tools, etc.), an up to date browser (we recommend Firefox or Chrome) with standard plug-ins (PDF reader, Flash viewer, etc.). Note: If you can access the reading and the movies below you should be good to go.
• You should also have access to a digital camera: We plan to do some photography through the semester, so – so it will be good for you to have one just for yourself (at least for the duration of the course). It doesn’t have to be a very fancy one, though if you have one, that’s great.
• Read a book chapter and watch a video
• Download and read the attached chapter by Csíkszentmihályi on Enhancing Personal Creativity from his book, Creativity: Flow and the psychology of discovery and invention. http://bit.ly/bQ7Lx
• Watch this video by Dr. Ken Robinson where he argues for creating an education system that nurtures (rather than undermines) creativity. http://bit.ly/2tkgtH

Finally, the most important thing you can do to prepare for 818 is to come to the course website on the first day of class with an open mind and a willingness to play.

We look forward to working together this fall. Drop us an email (punya@msu.edu or kereluik@msu.edu) if you have any questions or concerns. Please remember to put CEP818 in the subject line.

Take care
Punya Mishra and Kristen Kereluik

… although teaching students involves imparting knowledge, it is also a calling with other dimensions beyond the cognitive … It is about the formation of minds, the molding of destinies, the creation of an enduring desire in students not only to know, but also to care for others, appreciate beauty, and much more. In some sense of the word, teaching is a spiritual, although not necessarily religious, activity. When done well, it cultivates human intimacy and allows teachers to find creative self-expression in classroom community.

The authors define reverence as follows:

Reverence is comprehension of human limitation, imperfection, and our appropriate place in the cosmos as a consequence of the humility that arises from feelings of awe, wonder and admiration before something or someone that meets at least one of the following conditions: (1) Something or someone that cannot be changed or controlled by human means; something we are powerless to alter. (2) Something or someone we cannot create. (3) Something we cannot completely understand. (4) Something or someone transcendent; something supernatural.

Though I have not used the word “reverence” in my own writing / thinking I have often said the same thing about the role of the aesthetic in teaching in learning and the need for us to develop a language that allows us to include these dimensions of the human experience in our work. I have some reservations about the word “reverence” – mainly because of the religious connotations which can sometimes lead conversations into directions one may not necessarily want to go. (Though, I must add, that Garrison and Rud, take pains to write that “teaching is a spiritual, although not necessarily religious, activity.”)

Some examples from my previous writing on this blog that allude to similar ideas are provided below.

• A different language
• The one rule of teaching
• Bringing sensory richness to scientific texts
• Teacher as Filmaker
• Translations & Technology: Reflections on French Lieutenant’s Woman
• 2001, 4o years after

I want to end with something I wrote about the movie 2001 A Space Odessey:

2001 is a movie of big ideas: about what it means to be human, what is our relationship to technology, about our place in the cosmos, and our inability to answer some of these questions. 2001, thus, is a profound, deep and thoughtful attempt to use the medium of film to explore these ideas. And the style Kubrick chooses is intensely visual, deliberately paced, with minimal dialog. The first section of the movie has no dialog because there are no thoughts to express and no words to express them with. This is mirrored in the third and final section which has no dialogs because thoughts have far outstripped the ability of words to convey meaning. The section in between, set somewhere in the near future (as the 1960?s would imagine 2001 to be) has words, but even here it is amazing just how few, and ineffectual they are. Humans for the most part seem remote and disconnected from each other and, strangely enough, the most engaging character is the computer HAL!.

As is clear, 2001 is a ambitious movie (some would even say too ambitious). But it does do one thing right – it asks the right questions and tries to come up with an answer. And it does so in an ambiguous manner, allowing for multiple interpretations and readings. And that is its strength. It seeks, through the medium of film, to penetrate a “fundamental disparity between the way we perceive the world, including our own experience in it, and the way things actually are” (Dalai Lama quoted by Eberhart). That this is an effort doomed to failure is neither here nor there. In fact, the last line of dialog in the film speaks to this very possibility of failure: “Its origins and purpose [are] still a total mystery.” In the movie this dialog is about a black monolith – but works as aptly for the universe we live in.

In fact, as I think about it, 2001 is a deeply reverent movie. The question I have is whether we have created similar spaces for reverence in our classrooms? Have we even considered it? Or have we killed the idea with our focus on No Child Left Behind and Race to the Top?

The effect gets its name from “the image on the tins and boxes of Droste cocoa powder, one of the main Dutch brands, which displayed a nurse carrying a serving tray with a cup of hot chocolate” which in turn repeats the same image (just in small size) and so on… for ever. In fact when I visited the Netherlands a couple of years ago, I made it a point to pick up a box of Droste cocoa power – just so that I could have a box of my own! This is what the box looks like:

Over the years I have tried to play with this but my attempts have been crude at best – more a function of my limited knowledge of Photoshop than anything else. All this changed last Friday, when I found out about the Droste App for the iPhone/iPad. I bought a copy and spent the weekend playing with it. It has been great fun and below are some images I created. Enjoy.

Mishra, P., & Kereluik, K. (2011). What 21st Century Learning? A review and a synthesis. Paper presented at SITE2011, Nashville TN.

Abstract: The discussion of 21st century skills has become increasingly prevalent in educational discourse and several organizations have developed 21st century frameworks. This papers seeks to compare prominent 21st century frameworks to both provide clarity on what it actually means to teach and learn in the 21st century and to find common themes across frameworks.

• Download a PDF of the publication here
• Download PDF of slides of the presentations from here…

Mishra, P., Koehler, M.J., & Henriksen, D. (2011). The Seven Trans-Disciplinary Habits of Mind: Extending the TPACK Framework Towards 21 st Century learning. Educational Technology, 51(2) 22-28.

Abstract: In this article we examine the need for fostering transformative learning, emphasizing the roles that trans-disciplinary thinking and recent technologies can play in creating the transformative teaching and learning of the 21st century. We introduce the Technological, Pedagogical Content Knowledge (TPACK) framework as a starting point for discussing the special kinds of knowledge, skills, and understanding that teachers require in order to become effective classroom mediators of transformative learning experiences. Within this framework, we propose seven cognitive tools needed for success in the new millennium, and describe examples of how teachers can repurpose digital technologies to use these cognitive tools. We explore the implications for research and practice.

• Download PDF of the publication here
• A longer (unpublished) version can be found here

The sessions went really well and I have included below (for the record) the slides from both my presentations as well as some photographs I took both at the event and after. I would like to take a moment to thank Mike and his team (including Dr. Aksir Kumar and Richard Singh among others) for both inviting me to Singapore and hosting me for the past couple of days.

• PDF of my presentation slides
• PDF of my workshop slides

I also got to catch up with a couple of friends when I was here. One of them, Alfred Low, is someone I had never met, though we have known each other for a few years now. Alfred had contacted me a while back regarding his interest in TPACK and we have stayed connected by email and Facebook for a while. It was great to finally meet up with him. Here are the two of us catching up over a couple of beers.

I also met up with Aurobindo Ghosh a faculty member at Singapore Management University. Aurobindo (and his wife) were also at Urbana-Champaign when I was there as a graduate student. We met up again after 13 years… a lot of water has passed below the bridge in the meanwhile (my son was just two years old when I left UIUC). What was great how easily we picked up pretty much from where we had left off, 13 years ago!

Finally, a slideshow of photographs I took during my few days here.

Now, due to this interest, my TPACK-related Google Alert often provides links to work being done down-under. Recently I was treated to two video mashups based on the SITE2008 Keynote that Matt Koehler and I presented at Las Vegas.

These videos were created by Mike Sisley, at The University of Canberra, as a part of a special focus on TPACK for English, literacy and History. Mike is a TPACK advocate and seeks to create resources for the teachers of the content areas and created these mashups for this purpose. The first has an autotuned version of my voice (!!!) and the second has an original song called the Shulman Shuffle.

For some reason the embed codes don’t seem to work, so you will have to navigate over to Vimeo to watch them. Check out

• TPACK – Refrain: wicked problem
• TPACK: Adaptation of the Shulman Shuffle

What fun!

There is only one rule: Astonish us! In all art we look and listen for what we have not experienced quite that way before. We want to see, to feel, to understand, to respond in a new way.

I read this quote and immediately realized that this rule applies to teaching as well. I have often described teaching as doing two things – making the strange familiar (an eclipse of the sun is caused by the moon falling into the earth’s shadow) or making the familiar strange (all matter is essentially empty space). What is common is the sense of surprise we experience in both cases.

It appears to me that very often we forget the value of astonishment and awe in teaching and learning. This is where the quote above really connects with my idea of teaching. Repeating the quote but by changing just one word—replacing “art” with “teaching.”

There is only one rule: Astonish us! In all teaching we look and listen for what we have not experienced quite that way before. We want to see, to feel, to understand, to respond in a new way.

How do we as educators meet this goal of “astonishing us all.”

Many years ago I got bitten by the Ambigram bug and before I knew it I had created hundreds! This was of course long before Dan Brown and Angels and Demons made ambigrams wildly popular. It has been fun to see what was once a fringe activity take on a wider popularity. There was a time that I could actually count the number of ambigram artists on the fingers of my hand, and, in fact, most of us knew each other, either formally or informally. Things are very different today as a Google search will easily reveal, but this also means that keeping track of all that is going on in the ambigram field is extremely difficult.

Over the past few months I have been talking with Mark Hunter a gentleman who is trying to make high quality ambigrams accessible to more people, and to raise awareness of ambigrams worldwide.  He is doing this through two different web sites.

He is also the owner of Ambigram.com, which seeks to be an almost one stop site for all you need to know about ambigrams. He told me about how he spent a considerable sum to purchase the Ambigram.com domain name and has worked hard to grow its membership. He has been quite successful in this and in fact they they recently announced their new Ambigrammy Awards! (How cool is that.) He also maintains a list of artists practicing this craft (your’s truly being one of them).

He also runs FlipScript.com, a site dedicated to creating high quality ambigrams on demand. The results are actually quite good, far better than previous attempts to accomplish this task.  Don’t miss his demonstration short story made up of more than 30 ambigrams.

If you are interested in visual wordplay these sites may be excellent time-sinks!

Punya,
Here is the palindromic poem that I wrote recently, but I made it so that the words are reversed instead of just the lines. It adds another layer of difficulty to creating it, and I recommend trying it if you get the chance.

Falling Snow

snow falling gently
on stomping feet
cold stinging
the teasing and laughing children
sculpted beautifully – crystals form
flakes dancing gracefully
tumble and spin
spin and tumble
gracefully dancing flakes
form crystals – beautifully sculpted
children laughing and teasing the
stinging cold
feet stomping on
gently falling snow

How awesomely cool is that! I wrote back to him right away saying

Jake. This is awesome!!!! I just shared it with my family and we were unanimous in our appreciation and praise for your achievement. Not only is it a doubly palindromic poem, an achievement in and of itself, it is a wonderful poem in it’s own right….

Thank you so much for sharing this with me. It completely made my day.

Don’t you just love the open-architecture of the web (and why I resist the closed worlds of Facebook).

Dear Mr. Mishra,

I am currently working on a poetry research project for school, and one of the requirements is researching five different poets. While looking for people who wrote palindromic poetry, I found your website and decided to use you in my project. The only problem is that I can’t find much information about you for my research. If you could, please respond to this e-mail with a little information about your history (i.e.-date and place of birth, family relations, etc.) as well as your inspiration for writing your palindromic poems. Thank you for your support!!!!!
Sincerely, Jake

P.S.- I am an eighth grader from Colorado and an aspiring poet.

Now I don’t consider myself a poet in any serious sense of the word (my dabbling in mathematical poetry or palindromic poetry notwithstanding). But it is great feeling when something you create and put out there in the world connects with someone else, someone who you would never otherwise have met or gotten to know. Here is what I wrote back to Jake:

Dear Jake –
Thank you so much for writing to me. I am honored to make it to your list of poets and glad that you are interested in palindromic poetry.

As for my history: I am professor at Michigan State University in East Lansing MI. I am originally from India where I studied engineering and design before coming to the US and getting my PhD. My wife is a graphic designer and I have two kids: my son who is a freshman in high school and my daughter who is in 6th grade.

Ever since I was a kid I have always been interested in puzzles and mathematics and poetry and visual design. That I think led to a habit of playing with words and images… so I do a lot of doodling and sketching (specially when I in meetings). I am fond of asking questions and looking at things around me in new ways. For instance, I love photography, on my Flickr site you will find photos of silly things like finding alphabets in cracks, and faces in everyday things. See this link and this one…

• Alphabets in cracks
• Faces we see

Then there are the videos I make with my kids. For instance see the new year’s card we made recently.

This also led to my creating ambigrams, which are words that are written in a special ways so that they can be read multiple ways. You can find a bunch of such designs on my website.

So I guess, palindromic poetry emerged out this desire or propensity to see the world in weird ways. And the challenge of writing poems that read the same backward and forward was inherently interesting. I particularly enjoyed writing ones that flipped in their meaning when you cross the half-way point. For instance in the poem “Me as I sit” the poem switches from me watching you to you watching me!

Finally, as must have noticed, from the dates, most of these were written a bunch of years ago when I was a graduate student at the University of Illinois. I haven’t written too many recently but the fact that they are on my website leads people to them – and I form all kinds of cool connections – such as the email I just received from you. A year or so ago I heard from someone who uses my poetry to teach poetry to inmates in prison (how cool is that!). You can read about that here.

That’s all for now.. I would love to read any palindromic poetry you may have written, if you are comfortable sharing them with me. Thank you again for your interest in my work. I look forward to hearing from you and let me know if there is anything else you need to know.

take care ~ punya

Note: I got Jake’s (and his parent’s) permission to post our correspondence on this blog under the condition that I not include his email address or other contact information.

Many moons ago I had written about the idea of the web as small pieces loosely connected (read Gandhi, ambigrams, creativity & the power of small pieces loosely joined) that allow people to pursue their passions and share it with the world at large. This is what gives the web its power, and this is also why I am not as comfortable with the barricaded worlds created by Facebook, which would not have allowed someone like Jake to easily find me, (but that is a rant for another day).