DS106 on the couch

Tag: onlinegroupwork

Addicted to DS106 – A conversation with Rochelle

A while ago Rochelle suggested we had a conversation about the addictive nature of DS106. She was asking a serious question – what is the nature of DS106 that leads a few of us to dedicate more time than we have to it for no pay or egoboo and is our judgment affected in ways we do not see? She wondered about the neurochemistry of love and addiction – dopamine and serotonin in the brain playing havoc and leading to unhealthy choices.

About the same time I made this fun DS106 trailer:

I recognised the pattern she was referring to. I have spent longer than I am willing to admit trying to get an animated gif to do its thing for no discernible purpose other than I love it and fun is good. And yes, I know enough about addiction to know that addicts say the same thing about their drug of choice. If you want a funny look at this issue then you could do worse than watching Flesh-eaters Anonymous but be aware it is not for the faint hearted and its humour rather dark, more halloween than academia.

The rest of this post is a serious look at this proposition and explores some of the issues and questions we explored when we talked. An edited version of the conversation can be heard at ColinPods

Is our judgement being affected in ways we do not see? Many people who I consider wiser than me think so. Richard Foreman on The Edge explains the issue in a graphic and poignant way:

But today, I see within us all (myself included) the replacement of complex inner density with a new kind of self-evolving under the pressure of information overload and the technology of the “instantly available”. A new self that needs to contain less and less of an inner repertory of dense cultural inheritance—as we all become “pancake people"—spread wide and thin as we connect with that vast network of information accessed by the mere touch of a button.

Will this produce a new kind of enlightenment or "super-consciousness”? Sometimes I am seduced by those proclaiming so—and sometimes I shrink back in horror at a world that seems to have lost the thick and multi-textured density of deeply evolved personality.

But, at the end, hope still springs eternal…

George Dyson on the same page asks: Does the resulting mind belong to us or to something else (Google perhaps)?

Our work on creating a personal cyberinfrastructures puts DS106 on the ‘hope springs eternal camp’. Yet I think something wicked this way comes. I see pancake people all around me and I fight each day my own tendency to skim read and and store stuff instead of engage with it in the moment or in depth. It is not the same to engage and remember than to know where to find  and it is not the same to do a daily create than to do a life time create. Breadth and depth. I too sometimes shrink back in horror at a world without density and people lacking in layers. I too find that hopes spring eternal for this web that I love, but we need to engage with the tough questions raised by Rochelle. Are we making ill-informed judgements because we are addicted to the processes it affords? Are our cognitive abilities changing (not necessarily for the better) as we fall in love with the vast network of information and it offers us the illusion of ‘super-conciousness’ whilst (may be) dwarfing our ability to evolve a deeply textured personality?

The idea that dopamine is released into the system on the anticipation of a reward is key to this discussion. And the word anticipation needs underlying. We will keep going doing something that is not healthy to get this feeling of anticipation – Rochelle’s point is that may be DS106 is set up to maximise the feeling and hence we create a kind of an addiction to the process of creating as we anticipate the output and have to keep searching for more tutorials, more ideas, more resources to complete our tasks. DS106 ain’t no Google Form. 

Looking at it psychologically, I connect to Thomas Moore and the myth of Icarus. Listen to it as kid’s story here and relax for a while. We fly too high and get burnt by the sun. Moore has dedicated his life to the creative process and his advise is for balance and connection not grasping and keeping going at any cost.

If our tools are changing us and our way of thinking, but we keep on using them for pragmatic purposes or because we like the feeling that the anticipation of completion brings, we may be blind to harm. After all psychology is full of evidence about how we are not as smart as we think we are and how cognitive biases offer up to consciousness life as we want it to be not life as it is. 

Nick Carr in his seminal article ’Is Google making us stupid?’ notices something amiss:

My mind isn’t going—so far as I can tell—but it’s changing. I’m not thinking the way I used to think. I can feel it most strongly when I’m reading. Immersing myself in a book or a lengthy article used to be easy. My mind would get caught up in the narrative or the turns of the argument, and I’d spend hours strolling through long stretches of prose. That’s rarely the case anymore. Now my concentration often starts to drift after two or three pages. I get fidgety, lose the thread, begin looking for something else to do. I feel as if I’m always dragging my wayward brain back to the text. The deep reading that used to come naturally has become a struggle.

Plenty has been written to refute the argument that the tool is shaping us and I myself want to believe that technology is neutral and that we can approach it from a centred space. Yet, what we are starting to uncover here is that if this were not the case, we would not notice.

What the Net seems to be doing is chipping away my capacity for concentration and contemplation. My mind now expects to take in information the way the Net distributes it: in a swiftly moving stream of particles.

What are we creating when we have a tool that is taking away the mental models we carried with us and holding them for us?

Is knowing how to find stuff enough for true creativity?
Can we make new connections or has every thought on the web been thought and we are simply recycling?
Is technology supporting the kind of thinking that is not original, is not about new ideas or new connections, but just about reuse and remix?
Guy Claxton reviews extensive evidence in his book ‘Hare Brain and Tortoise Mind’ that shows human creativity needs a mode of thinking that attends to complex inner density – the tortoise mind- if we are to avoid just recycling new ideas. If we are hooked on searching and not on the quality of what we find, then may be the tool is mis-shaping us?  He also argues that we are becoming a society of articulate incompetents as we repeat rehearsed narratives but do not have the lived experience to back it up.
We need to nurture the kind of thinking (tortoise mind) that is not driven by goals and objectives – may be DS106 allows that? Rochelle talked about what it was like to do DS106 in-house at work. The focus is more on application and collaboration in order to support the taking of risks and creativity. If we can create a sense of a collaborative ensemble and can be relaxed together we release more dopamine and can inspire each other, help each other be on the creative edge. What came up for me, Rochelle said in our conversation, is this: are we messing with our brain chemistry in ways that are not supportive? How do we use DS106 in our life beyond just fun, so that it is more than having a bag of Doritos at a party?
It may be that DS106 is the space some of us choose to access our Tortoise non-goal driven mind. It may be that others use it to output art, and yet others use it as art therapy. For me, it is a about the digital element of story and my own fascination with novelty and anticipation – I love new tools and can always see potential applications in my work, even if those I work with do not yet. I am mostly in the ‘hope springs eternal’ camp. Is this driving an obsession? Is this the old rescuer pattern – look what I bring you  to fix all your problems? 
Creating an enclosure to be vulnerable and feeling safe within that enclosure to ‘feed our addiction’ may be thing to watch. DS106 has a shadow side and whilst this may not be the place to expand on that ( we did talk about it in detail – if you listen to the podcast), what is relevant is that we may be missing something about its structure that is creating an addictive pattern in the brain. I wonder if the ‘something’ may not be connected to the implicit ground rules and role modelling that make this community such a safe place to experiment. 
It is not, however, safe for everyone. It may be possible to create some guidelines that would include something about how to avoid getting addicted and how to deal with situations that push us beyond the flow channel and into anxiety or boredom. Rochelle and I talked about this and it is work in progress. It may lead us to joint research and may be an paper?
Meantime, we are working with the paradox as participants and educators. We love DS106 and its potential and if it it were changing our cognitive patterns in non-supportive ways, we would not notice. The nature of it as a ‘tool’ may be one that encourages dependency, yet we both feel that it is important to hold the tension and not plunge for easy solutions or criticism. This is what made this conversation interesting and insightful for me, at least. 
Some questions we are asking:
  • What are the things that make DS106 the kind of learning environment that it is?
  • It is a special creative enclosure, but why? What is its shadow?
  • Are we just getting addicted driven by chemistry in relation to the environmental conditions the DS106 space creates?
  • Do others experience a sense of concern for themselves or for the more vulnerable in the community? 
  • Are we creating a set of conditions that is not conducive to making good decisions? 

A key element to investigate seems to us to be the drive to seek. There is evidence to suggest that we prefer the chemistry of seeking than that of getting. Yoffe says in her article that humans and rats seem crazed not happy when they learn to stimulate the brain chemistry of seeking:

[self-stimulating rats and humans] did not exhibit the euphoric satisfaction of creatures eating Double Stuf Oreos or repeatedly having orgasms. The animals, he writes in Affective Neuroscience: The Foundations of Human and Animal Emotions, were “excessively excited, even crazed.” The rats were in a constant state of sniffing and foraging. Some of the human subjects described feeling sexually aroused but didn’t experience climax. Mammals stimulating the lateral hypothalamus seem to be caught in a loop, Panksepp writes, “where each stimulation evoked a reinvigorated search strategy” (and Panksepp wasn’t referring to Bing).

 

She suggests that our net searching behaviour is just an addiction, that we ‘keep hitting enter just to get our next fix’. Rochelle highlighted in our conversation that in DS106 we are constantly seeking – new ideas, new tutorials, new people to bring into the ‘cult’…

Yoffe again, quoting Berridge:

That study has implications for drug addiction and other compulsive behaviors. Berridge has proposed that in some addictions the brain becomes sensitized to the wanting cycle of a particular reward. So addicts become obsessively driven to seek the reward, even as the reward itself becomes progressively less rewarding once obtained. “The dopamine system does not have satiety built into it,” Berridge explains. “And under certain conditions it can lead us to irrational wants, excessive wants we’d be better off without.” So we find ourselves letting one Google search lead to another, while often feeling the information is not vital and knowing we should stop. “As long as you sit there, the consumption renews the appetite,” he explains.

So do we find ourselves letting one animated gif lead to another, or one DS106 movie trailer lead to another, knowing it is not vital and that we really should sit and have dinner with our spouse instead? Do we keep clicking just to get the next fix? Is time to form DS106 Anonymous?

From a pedagogical viewpoint, I am interested in exploring how we are structuring our online learning environments to pander to particular bio-chemical states wether functional or not, over time.

For now we closed our conversation with the observation that whilst DS106 may encourage unhealthy seeking behaviour ‘it does open our heart and connect us with others. But may be that’s just the drugs talking.
In closing I feel compelled to quote in full the conclusion of Yoffe’s article on seeking:
If humans are seeking machines, we’ve now created the perfect machines to allow us to seek endlessly. This perhaps should make us cautious. In Animals in Translation, Temple Grandin writes of driving two indoor cats crazy by flicking a laser pointer around the room. They wouldn’t stop stalking and pouncing on this ungraspable dot of light—their dopamine system pumping. She writes that no wild cat would indulge in such useless behavior: “A cat wants to catch the mouse, not chase it in circles forever.” She says “mindless chasing” makes an animal less likely to meet its real needs “because it short-circuits intelligent stalking behavior.” As we chase after flickering bits of information, it’s a salutary warning.

Week 9 Evaluation – self and others

We are asked to evaluate our own radio show and one other.This feels an important element of learning on DS106, but harder to offer and get in this Headless version of the course than it might be if we were doing this course for credit. Alan Levine reflects on the difficulty of giving feedback at the right level in a hashtag classroom. He concludes his post on this with some interesting questions:

Can a community fill some of that feedback role so an instructor does not max out? Or in what ways can the class itself pick up its own feedback circle without it being a thing being done just for the credits?

I think this area that merits a thoughtful response – and the best way to do that is to jump in and offer some feedback, as the week 9 assignment asks me to do. I will post later on what I believe to be a methodological approach that may offer an answer – briefly, I believe that Self Managed Learning offers a potential model. I have been teaching using this model face-to-face for 20 years and believe it would translate to the hashtag classroom well with few adaptations.

A core issue on this Headless 13 course is that as it is not done for credit – it is permissible to do as much or as little as anyone wants and there are no consequences for non-compliance with assignments . Furthermore, what is delivered meets self-set criteria not externally or collaboratively set by the cohort. The issue of how we learn, how we reach understanding and how we meet quality criteria for learning is complex and many-fold involving a 4 point diagram that includes content, teacher, learner and context where learning happens. This further depends on personal beliefs about how these elements interact. Is learning social or personal or both? do we subscribe to the conduit metaphor of knowledge or to a metaphor of learning as participation? These will be a topic for another post. 

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cc licensed ( BY NC SA ) flickr photo shared by Dave Sag

Here I jump the donkeys carrying computers, and evaluate ‘Shrinking the big questions’ and ‘Spinning around’ by answering the questions our weekly announcement set. I trust that my capacity for critical thinking and feedback going back a long career will suffice to do this task justice. There is little in DS106 material, beyond informal conversations and suggestions, that supports open participants in learning how to do this. Gardner Campbell suggested at Open VA recently that we could do worse than follow Wikipedia behavioural guidelines when working in the hashtag classroom. The decline of participation in the wikipedia project not withstanding, may be this is a good starting set of rules for online evaluation.[ At least until I write the definitive post on online feedback and why it will never work.]

My observations so far are that peer celebration is more the order of the day in DS106 than clear and specific feedback. The best feedback of this kind I have received has come from Alan Levine, who though not an instructor of Headless 13 is certainly an ‘elder’ active in our little community.

Let me be clear, I have nothing against peer celebration. I do believe we need ego boosting as well as notes for change and improvement.

The issue for me is that as we have light reciprocal relational links, I am unsure I know anyone well enough to be able to offer improvement feedback in a way that can be heard and may be wanted. I am also unclear about standards for assessing and evaluating, both my own work and that of others.

I am unsure what I can offer will be welcomed.

My initial observations of the norms operating our community suggests to me that whatever we do is a ‘pass’ and that better/worse are not comparators that it uses explicitly. For myself, Alan telling me ‘avoid x and try y instead’ helped me improve the quality of my output and that is why I engage with others to learn. I welcome more of that from others and whilst I have had great help when asking about a ‘how-to’, I have had less feedback evaluating my work against a set of standards than I might on a  for-credit classroom.

We do implicitly  evaluate work in DS106. This week we were asked to nominate somebody’s work to the Inspire website. I had already done so before reading the request – I nominated ‘Spinning Around’. The frame used is ‘nominate work you found inspirational’. This does give a clue as to evaluation norms in the community. Work is not better or worse, but sometimes people make art that inspires us. I can do that but that does not teach me (or does it?) how to make my own work better.

I make stuff that sucks, I am happy to have a go. However, my trying does not make it good art. It just makes me good at trying. External evaluation matters if I am to improve and learn beyond my own limitations.

Our radio team gelled behind the shared aim to produce a great show:

and I feel we succeeded. 

How did we evaluate each other’s work? We made sure we spent time relating and laughing together. Good old fashioned ‘let’s get to know each other a bit’ before we focus on the task at hand. We agreed working norms that would enable us to produce the show and stuck to them. 

We had plenty of opportunity to offer each other feedback. What I noticed was that it was never personal, it was always a measure against quality output. For example, I spent a few hours trying to clean up Jess’s audio. I did what I could, but was not happy with the output. Karen also offered specific feedback in the shape of ‘the echo is just too much, should we ask Jess to re-record?’. By then, Jess has already heard the edited audio and was on the case to re-record and learn Audacity. Another example was the show’s introduction. I had recorded an introduction early on, and was pretty chuffed with it. Of course, the introduction had been done in isolation of the show as it evolved. I woke up one morning, to find lots of Tweets that essentially said ‘introduction is too long, need to re-record or drop from show’. After picking up my hurt ego off the floor – not really – I tweeted that I thought we should not drop it as the show needed an introduction and  that I would re-record. I was ruthless in editing the script, did it again and it was all the better for it. 

It has also been easy to keep on working together and offering feedback on each other’s output. We are now even evaluating our own work as we send it out – I can hear when the sound is not right, I can offer my evaluation and then we use if usable and short of time or just redo if we can. We got our evaluation process streamlined and it has enabled us to produce another episode of our show for Halloween. Just because we wanted to.

Below I take a stab at answering the evaluation questions exactly as week 9 announcement requests. I am doing this to encourage us all to do more realistic and specific evaluation as well as keep on with peer celebration just because we are motivated to create something each day. This is awesome.

What would make it even more awesome, for me at least, it to have us engage more on evaluating the quality of what we are producing and critically engaging with criteria for evaluation – what can I do 

  • less of
  • more of
  • or continue doing

to make my DS106 work better each day?

I believe the weekly announcement suggest we should be engaging on this conversation beyond the undeniable fact that our motivation to keep making stuff is inspirational and exercises the creative muscle.

Criteria for audio and the extent to which Shrinking the big Questions (SBQ) and Spinning Around (SA) met them

Quality of audio sound – e.g. Is the volume appropriate? Are the levels even? Is the sound clear, and free of noises not needed (e.g. mouse clicks, background noise)?

To my untrained ear SA had the best sound quality of all the shows. I listened to it over and over and enjoyed its crisp sound each time. There was a flow to the sound, silences were just long enough not too long or too short. The whole thing cohered to give the feel of one song with many voices with each voice clearly heard. 

SBQ struggled with getting the noise even, when I heard the whole thing at the European Premiere I noticed there were extraneous noises in the different segments, at some point you can hear somebody tapping at a keyboard. We each mixed our own segments, where SA had one person mixing from the raw sound. What would make it better? I learnt that much care has to be taken in the quality of that raw data, there is only so much you can do when you edit something – this was so clear with the DS106 controversy segment. The second recording, made with a higher quality microphone, was of far higher quality and easier to edit than the first. 

Quality of audio editing – use of effects, transitions, are the edits clean?

I need to learn more how to fade in and out. I learnt, in looking at how others edited, that I cut in/out in too sharp and abrupt a manner. I do not understand enough about the physics of sound to manipulate in any meaningful way beyond trial and error. I also need to learn more about the mechanics of microphones and fine editing.

We were saved in SBQ by our overall editor having a self-confessed perfectionistic streak. Credit goes to her for going through many a tutorial to learn ways to improve our sound. Talky Tina and Christina know more about sound clearly, and though I have not asked Karen, I think their sections will have given our sound editor much less hassle than say mine.

I am now learning to use effects more easily, music for transitions, and smoothing out segments. SA uses effects and transitions in such a way that there is not sense of separate sections – it all blends easily to my ear and with so many voices I am inspired by the editing and the quality of the raw sounds the group produced. 

Use of sound effects- How are they used? Is it effective?

Yes, I think we both used sound effects effectively. I did not use them in my section, and their lack shows. I ran out of time to add them in and I had not yet learnt how to do it well – so decided to go without. SA used repetition staggered to great effect. Reading the lyrics of the song spoken just after the the song is played – very powerful. Of note in SBQ are the sound effects on the cooking section of the show and on the meaning of life section – they are clear, appropriate and timely. 

Use of music- how is it used? Is it effective or distracting?

Music added in SBQ worked well. I did not use music for same reason as above – not enough knowledge of how to mix. Music added by Karen and Talky Tina really helped bring the show together and taught me how important it was to include it so as to keep attention of listeners. I need to work on this and SA were an example of best practice in the use of music.

Does the show have a structure? Is it cohesive or does it feel stitched together?

SBQ could have felt stitched together, and may be it does a little. Talky Tina’s interventions throughout create a thread, the bumpers and commercials do also – I did not see the point of them at the start of audio weeks – and references to other segments within the show help the flow.

However, our topics and styles were very different and had the team work not been as good as it was, the knitting together may have failed.

Interestingly, SA’s editor Rochelle also felt that their approaches were different and an approach was needed to cohere a show. Perhaps this is the craft of editing? SA tackled the coherence issue with music that flowed through the whole show. I loved the one song SA used, but the whole thing would have been lost on somebody who may be did not like the song as it was repeated over and over again. A high risk strategy for coherence that paid off for my untrained ear at least. I would have like more narrative about the ideas and the making of it – some of what came through in the blog post could have made another 15 minutes of the show and may have given us a coherent analytical message after the emotional and on-linear message had been heard.

Does it tell a story effectively? Is there a sense of drama, unknown? Does it draw you in to listen?

SA absolutely and I could not think of anything that would enhance it. SBQ was not about drama but humour and thought provoking ideas, it did draw me in. I chose to listen to it for fun and each time I hear it I smile. Yes it tells a story effectively but it is too long.

If i were thinking of it a a ‘proper’ radio show I would structure it as 10 minute episodes each tackling only one question. Music and other programming would be the main focus, and SBQ would be short ‘funny, absurd, and very DS106!’ morsels spread through the day.

If you would rate this radio show, how many stars out of five would you give to the show

I answer this question with a little help from Photoshop and Hackssarus.

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I worry about upsetting my team by giving us one less star, I worry about the other teams thinking I chose this show because I liked it, but that may be I did not like them as much. I worry about offending both teams I talk about here with some of my suggestions for improvement. It is hard to offer meaningful evaluation to others online, I find it easier to self-evaluate. But unless I hear external voices, I worry I am  in a digital echo chamber not learning new things just hearing what I want to hear.

What has helped the process is the closeness of our small group work and getting to know people. If we understand people’s motivation, it makes it easier to offer feedback that can be heard. Just because I want improvement feedback, and because DS106 announcements suggest we should learn how to evaluate ourselves and others effectively it does not mean that everyone involved in DS106 Headless 13 wants evaluation.

Some may just want a space make art and not a space to be evaluated. 

I need to tackle the issue of assessing others’ work.

  • How can criteria for assessment be agreed online?
  • How can we teach online participants to assess each other with rigour that comes out of engaging with the issue of setting clear standards?

Why? Selfishly, if I want to use this kind of model to support my own students then we need to be able to assess each other’s work to Masters standards and do so in a public setting. Self-managed learning offers a set of procedures that may help, but the group process and norm setting issues remain.

This feels an insurmountable challenge to introducing open education in my environment right now. I hope to learn more about effective ways to evaluate my own work and that of others as we move to the final (final?) stretch of this DS106 Headless. 

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