Towards a DJ Methodology of Learning

7/28/2019 Towards a DJ Methodology of Learning

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Towards a DJMethodology

of Learning

Zachary

Kaiser


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Towards a DJMethodologyof Learning

DJ

Zachary Kaiser


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Your

ta

oes

he


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T h u n un h qun h g

M Fn A n Dgn n y h MFA Dgn Rw B h Mhu Cg A n Dgn.

2013

Bn Lu, Te Av

P Dgn

Dyn M Inu

Mhu Cg A n Dgn

A n K n, Te Av

V ng P

Dyn M Inu

Mhu Cg A n Dgn

Jh Quknuh, Te Av

A P Dgn

Dyn M Inu

Mhu Cg A n Dgn

Jn Kuw z

Cn Gu Pg n Dgn

P Dgn

Dyn M Inu

Mhu Cg A n Dgn

Gun Kz

P Dgn

Dyn M Inu

Mhu Cg A n Dgn


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Table of Contents

Aknwgn

01 A 01

02 T D. S: My Wnw h W 05

03 T Inquy Rx 19

04 djng, C Lnng Exn, n h Cnu Cnu n K 29

05 C Suy: S 45

06 T Mng D. S n h E Ig u Dgn 67

07 C Suy: Synh 73

08 D Dug, Awy n, n Gng-O Pw 91

09 C Suy: hng 99

10 C Suy: r&b r&d 117

11 T E Ig Ln ng Exn 141

12 Mhn-R . Hun-R Mnng 153

13 T dj Mhgy Agn Py: Wh Nx? 159

Anu: T dj Mhgy k Eu


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Towards a DJ Methodology of Learningvi

Pro

s,Re

ndThank


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Acknowledgements

L, y y w. T n wy nu h h n u

yu h gn hughu gu h. Yu y , y h, y -

, y , y u, n y n.

M nng n, ng, whn, , n y n-

n. Yu k, , ngh, n wng k un. Yu h

n I h .

D n Hnnh nugng n nng wy.

Bn h k, , nugn, n yhng n wn.

An ng yhng n hng nn y ny n n.

P hngng y y un.

J wy nng u qu u w h u hngy.

Gun hng , knwg, y n.

Jn yng h gunwk.

G, Dn, J, n Jhn n ng n h nn k k nhng z h h h whn I u.

Jnh wnu n n nh.

h wh DMI F y.

h Px y L Fun hng z y .


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Towards a DJ Methodology of Learningviii


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Abstract

01

Abstract


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Towards a DJ Methodology of Learning2

As a DJ, every time I play a gig or make

a song, I engage in a creative learning

process. By selecting which records tobring to a gig or deciding what songs

to sample, DJs create databases and

establish limits within which they play,

illuminating connections between

database entries for themselves and

their audiences.

I believe that the most powerful learning

experiences are, indeed, creative, in that

the learner engages in an act of creation.

While playing a DJ set is one example

of such a learning experience, writing anengaging and thoughtful research paper

is another.

As our access to information increases,

no matter what we are studying, our

ability to manage complexity must

increase. Our rapidly changing experi-ences of the world, shaped like rocks


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Abstract

by the oodwaters of data, require a new

methodology for learning and meaning-

making. My thesis argues that this newmethodology is specically a DJ meth-

odology. It extends the philosophies of

bricolage and constructionism by under-

standing that anythingideas, events,

characters or placescan be sampled

and mixed in an exploratory, creative act.

The relationship between the variability

and modularity of a DJ set and the data-

base of a students creative inquiry forms

the foundation of my studio practice.

I design learning experiences, systems,and technologies in order to better

understand the DJ methodology. This

methodology advocates for the design

of learning experiences that leverage

computation to facilitate the creation of

human-readable, as opposed to machine-readable, meaning. In doing so, the DJ


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methodology begins to serve as a plat-

form for a critical discourse. My thesis

can be read both as an explication ofthe different facets of the methodology

as well as a guide to employing it, thus

illustrating a pedagogy and a philosophy

of learning.


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The Dr. Sample: My Window to the World

02

The Dr. Sample:My Window to the World


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These

sam

l

from

The rst project I did in graduateschool is a visualization ofemotions throughout my life.It incorporates the visualmetaphor of sampling andmusic-production software.


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Sherry Turkles book, Evocative Objects,

contains a series of beautifully crafted

essays on the things-to-think-withthat helped shape the careers and

research of her colleagues and friends.

Dr. Turkle underscores the importance

of concrete thinkingthis thinking that

our interactions with objects facilitate

and situates it in opposition to thecanonically-celebrated abstract thinking

of the academy. Sitting in a class at MIT

taught by Dr. Turkle and reading the

essays in her book, I couldnt help but

feel somewhat distant, an outsider to

the world of engineers and computerscientists celebrating their experiences

with LEGOs or gears.


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W h w n y u u wn , n, ng n-

qu, un n unu y n h , I w u hng h

I hugh un k h ngn w h wh I w uyng. I hu h

knwn . I hu h wn u y , y boss D. S sp-202,

whh h y yung , ng, h-h dj n -

u. T , k, x hng y (g. 1).

Enh y h-h u n I hu h y n nng , I -

gn n n y g u h h h-h u u k ,

h u whh n wu . T u n w-knwn

h w, u, un n x. Phy xn h -

g n y u f y hn y n hgh h, unn x w y u h qun . I h h wy h I

u gn ung u u, n quky un h w , h hy

Fig. 1: The BOSS Dr. SampleSP-202


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h , n h ng. T

h ung k h-h u, n h h n-

n h gn hy, gunng h-h h n n ng

g n nu y n ygh.

I ugh n h w h I u : h boss D. S sp-202. T

D. S , hu k x wh ng un, ng n ng

y ghy (Eu, I ). I xy hw h un

ny n w. Ty h - uy, quhy,

-nn n, ghng u wh , led whn uh. ggng

n h wy, wh h n, unnngy yng xn.

M hn xu, , hy x n, h D. S nw

wy hnk u h w. I u h ny k n u, n

hn x h gh. I h nw hng n nun nw -

y I h gwng, uy un. Sng h Mu

Shw, Jn k ng, n M D w h un

y nn. Eyhng qu h n n x. M

y, y D. S g y y xn ng n nu-

ng . Tugh h u h ny , I

hugh w zng h h x u h w nk gh h

( xn n), n h I u gg ny u .

I quky z h wh w n u RShk, I u

y nyhng un . I tv hw, , , cd,nn, n nunn. I h h ng ng hng

nw n hn ngng n n I w wkng n. I

n h ng n n. S h n w , n

, h gn hyh, wh h w nu, n h

nn nx h . T n ng n

nnn y k n unnng u g. I n u

h n n u gn, n whh w u

n whh n whh nun h y. I u gn

n, ny ghy, y hnn nun wh nn . A

h , I n u qu un: h quny u,

n, n -hng gh, u n w.


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My h ny w h y h y x n wh

y D. S. I un y hng u y

n n whh I ngg ung h hgh h n g. T

y y y n hgh h u n x h

gn u , n hn nnng h h

uh I wu n . I wu fn gn wh qu h-

h w h wh un h k hn. T qu

fn h n n y wng , n I w h n

y hugh h n n nnn.

Af ng y n n g, y wk quky n y

h ng (g. 3). I w n gy h w un

n y u y n hu. I wu fn k hugh k, uh

I wu k hugh , y ng n h gh wh I wn y wh y wk. S h wu ng , nu n

u n u whh I wu g n .

Fig. 2: T-shirt prototype,2005; images tracedfrom enlarged newspaperphotograph; collaborationwith Vukadin Backonja. Whenwe saw this image we wereinterested both in the ideaof bending and the idea ofworking out in preparationto do anything, whether itbe to sell sh or to competein athletics. What happenswhen you mix this imagerywith the vernacular of thetypical athletic T-shirt, oftenemblazoned with slogans like,

Just do it or other allusionsto sport or competition?


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My hw n g, Iny Yu, w y u xn wh nu

ny wn n n, hugh h h n n

n y y nn wh h D. S. Tugh n nn nn, u

unknwngy h h n h u

h wu n u ng gn gy hw. F h u ny n

h , w unqu n h

n ung h u nn wh u w (g. 3 g. 5).

Wh I w xng ng n y wn wk n g, I u wy

h gn. Dung y h y, I -un nn- gn n

n nng u hgh h un, M H P (g. 6). On h nu n u hng hhy w gnnng wh uy

nk g. Mny u un w un wh ng n ,

n wy u h hy w wng, u nk h

n k.

Fig. 3: Some gallery visitorswho arrived early looking at theinstallation of the Identify Yoursexhibition. Nick Ihm, one of theartists with whom I collaboratedon this project, stands in thecenter of the photograph.Photo: Jim Escalante


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Fig. 4: Photograph from theopening reception of IdentifyYours. A print-out of our entiredatabase sat next to oursketches and explanationsof the way the system worked.People combed the databasefor their entries so that theycould see how the selectionsthey made on the site inuencedthe artworks we had createdfor them.Photo: Jim Escalante

Fig. 5: Photograph of one of theart objects from the openingreception of Identify Yours. Theshow explored the relationshipbetween the designer and

consumer, with users of awebsite unknowingly makingchoices that helped guide thecreation of art objects that wouldbe designed for them. Theseobjects were made available forusers to pick up at the openingreception and for the followingtwo weeks that the show ran.


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Fig. 6: An enthusiastic gallery-goer at a Mess Hall Pressopening reception.


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Ou hu u w hg wh gnng n h n n

h hu u u (g. 7), w h k wk n wh: h

nk g w n n n. W wu fn g n w h u

n, ung whh u un wu u g u gz n, k

u , w nyhng h hy hugh h h g h

. Ty w ng, ung u whh w u u.

B n u u wh w hugh h hu (u gn ),

w wu hn gn xng h u n gh, wh h

un ng g wng hng n u. Sn, ugh gn wu

g. W n w-u n ng h un

g y wk. On y w uh w n h w

f y hyng n g uh n hng un

w un , ng h wn nn.

Tugh y gn f g n M H P k u y , I n y u-kng. In h w hu h

ngh, I wu n y n y n hu, kng u. By h

, I h n un (uh hwy hugh hgh h), x n

n k u n y u. My D. S, hw, w wy n h

Fig. 7: Mess Hall Pressstudents working on projectsat the Lussier Teen Center inMadison, Wisconsin.Photo: Aaron Davis


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n h n whh y g w ng. T I n nnng

n kng wng , hu-u x, h I z h djng n h

, -yng n, w u k ng n kng . I w

ng y n h hn ng, n w xng h

n y un n ggng h n h D. S. M h

x I h h nu h. F x, I fn

h ugh hw I wn x n n gnnng

y. T ng n n hu-ng x nn n h nny ;

h wu ng. A dj u hnk u hw n ng x

wh. I h ng hyh n u n h ng

. I wu, h, u y n wh

I hugh n g n x, u k I u w n un kng h

gh h ng wh y D. S. I w ng h , h

, (, h gn, ngy, gn, hyhn, .), n ng whh wu g n h

h x.

By h , y k h g h n wh I z I u gg-

gng. I gn k gg h I qun. Sn, I w uky nugh

nnng Rn dj y , n wh I n h

n h n y Mn: Run N . T n n, yng

n ng u y n y n, ng n gnng n u

xn n n ng k, h y u ng

n gn . T u y wn djng n ng

gn wk wng n y. I k wkng n n gn n n

hu y un n. T gn : h g h

y u h ngh n qun, n h ngh n qun wy

n. Wh y h wk ? Wh y ? Wh ngh ?

Hw I ng? Wh h n gng n un wn? W ny gu?

O nw ? Wh n h nu n wh hn h ng

nk? Wh h I n nng h I k nu h? T nw

h qun I u n n, n h hw I wu gn

nu y . A h, n n k n k ny, I wuu u u wh , knwng h I wu ny y u h.

Agn, I wu h n h h , n hw I

gn wh y g h nng. I y n w ng, h

wu .


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I n quky, hugh, h n u n n dj uy hw ng

u h n n y g . djng, whn yu ny yng

ny, u n. I n, hw, , - -

n. Rh, qu nnng, k , n knwg n n

h h ny. T h n why h dj

fn ny u. Tugh u un n n

y y n gn ngh, I h h n-

n un whh I u y nw h I h n gn, h hugh

nnng n n. A 10 pm, x, n nhng h

nn, I wu yy gn wh wn nun h-h,

w unk n u . I gh y nhn u O.V. Wgh,

xn hn w h u wh P Rk nun h

nn hu wn wn. I ng n, hw, h w w y

w n k n y y, I wu h , n g n y wh hy ng, hgh BPM wh n hgh ngy hn

wh I gh y y y h hu. T wu n, hugh, h h n h

ngh wu ky w h , n I u y h w, wn u

h n h ngh. T gnn, y u h gn

nn n gn ngh, yn n hng. My x , h wy I

wu n nn h n y n nh, h

hng w . Ey ngh h I y N, I wh y h-

, gn xn h h u g gn n

nn.

Af w-y nu djng N, I Bn, whu y ,

n whu uh n. I h gny u y w (y g n

h ) h n gu h. My kgun n gn, u-

n, n, n u , y wk wh hgh h un h n

u g ng hgh h , bima, h Bn Inu

Mu n h A. Un ng bima, I z h y w n

h n hn y dj. I h y n gn gn wh

n nn h u hng ny . Suh h nu hng n

un. My g w xn h ng , gn nJwh un, wh nhng h h n. In

gn y uu, I h h ny n ny

n h hy hh n ny n Ju. In ng h

h, I w ung nu n, , uh,

BPM stands for Beats PerMinute, the measure bywhich the tempo of a songis calculated.


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wng, wk, n h n n n y u u. I hn

n y ng n xng y h n

uh h wy I wu n N.

My uu wh n bima w h h w n- , ngg n h n n n

u h n Ju, n hn nn n h hugh

xng. F x, n hghgh h n yng n

u y ung w nn ng h

u Sh nn n Fy nng (g. 8). Ty n h wk

Dnn -y- wh Jwh u . By unnng h ,

Fig. 8: A BIMA participantshowing off the beginning of atextile-inspired sculpture made

out of plastic bottle wrappers.


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n w x h nh wn n, wn

u n Ju, n nngu wk n-

ngu xn.

O u, h w n y hng whn I h . T u-u n h I w h h f h

n. Lk h gg whh I n ng nugh , I n h

h gh nnh gh whn I n h.

Unnng y wkwhh dj, gn u qu

x, h w w h h D. S . T nng

n whh I ngg n xnn h hu n wh y

D. S. My yn gn wk h n x wh,

h u, y k nu nu wn djng n

nng. I yn n h wy xn h h

ngy h g, xn h n nqu,

h h h n u h gh .


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The Inadequacy of Remix

03

The Inadequacyof Remix


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ver

sar

sort-

In 2011, Jeff Bar tell and I did a

research project on the historyof the digitized voice and thequalitatively new phenomenathat the software Auto-Tuneenables. We remixed ourresearch by creating a DJ mixwhich we annotated in theSoundCloud interface.


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Remix relies on appropriation, and

this act of appropriation is connected

to, or often manifests itself as, an act

of sampling (Navas, Regressive and

Reexive Mashups in Sampling Culture).It is impossible to build a methodology

for learning based on DJing and

sampling without a discussion of the

nature of remix. Moreover, because

the act of remix relies on appropriation

and sampling, it is connected tothe processes around which I have

developed all my design work.


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Tugh y wk u hng uh hn ex, n

h u h u n h ugh whh w h

u h djng n ng. In xnng h x, I w

un h h y whn u whu nx nn.

Eyhng Rx h hy h n h u-

h h n u nn . T h hy

n , h y k uy nn ex n y h

. T w x n wn g uu uny

n n n u un h. Bk u x n x ng ng

u n unng (.g., Lg n N, hugh uy h n

zn. ny ). En ng h uny ex h

h yu n Gg x w y ny w, n n h y

un wn n n yu quy nn h.I n u, hn, h Ky Fgun h , Eyhng

Rx, w n nn nn nn.

T h , n n , u uu nhu ,

n n , n n h n ex. I wu k

u n w wh h w x whn x n h nx

hgy nng u n ng n djng. F, ex h h

n uu n yng Wn u nun n .

Sn, hugh quky uu n u hnnn, ex

u nn n n.

Rex nn w n nng hgy; h u djng

n ng , n u uh n x h

n n. T Rx w h

R (Bw n Bughn, n N, Rx Dn) u

x nh n h Wn u nuy. Ou

unnng ex n h u x whh w -

u un h 1960 n y 1970 (N, Rx Dn). T y

x, hw, h h n h n y Jn u

n h 1960. Nnh, h Rx h nh nun h unquy Wn n An.


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T y x J, knwn n n x n h u-

n. R x (wh R) n ny n y u

h nx h . T x c w n g

u n ng n gwng nu-

k hng n h wng D n H H uuu. Y hy,

g h h n x ng h w n n c w y

y n J. Whn nng h, n hu k n n h h y

nun h k n J uu y n wh k

n u uu n h Un S n h h w, n h

h h n n h n n. In h, h

uu n n why Jn un h x -

n n n x.

Bw n Bughn, n N, Rx Dn

T wn ex n n n h u n

whh wn dj ngg hy n - g, unn, nn-

w n u u h nw n un. In, Wn, n -

nny Nh An, dj ngg n uu n, hng n w

h nx g hng. Ty hn x , , fn, u h wy x

u, un, n n xn u. In n

n n y n h un, dj h

h ungun, n n ng , n h h u h gu

ng (uk). Lgng h nw y n h w n

u h ugh x u ng, dj y hn ngg n -

n (A), gy (An, n N, Rg n Rx M hu),

n g wh u wn u hy h n h u nu

h u u ng x (D, n N). Mu nx y

ny, wh h nnn wn x n wn (y,

An) n nun y n h n h n kg. I n h

y, G Gn Auun, dj Ch B (aa B uk),

h n wh, nun, n nn n dj uu, whh, un

u, n h un wh n nn n n h

s n h w wh. uk gu h h u h n, nunuy h y h k n , h u xn, h

y n un h h, whh h dj D n x y

n. [N] wh yu n h w, h n ungun


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King Tubby, a Jamaican producerand selector, often credited withthe creation of the version.

Famous contemporary DJ, Diplo.


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n n gn z uny, D h y , ,

n [] un n nh h w. I h hn y, h n h wy

(uk).

In k ng n djng hgy nng,h, h uu n h w x, h nh

, n h gn ny u xn n whh u dj

ngg, .

In n nh n Wn uu un, x

hn ky n. In h k, Rex, Lwn Lg , , uu

, , n un C Cn nng, n h n

y wy, k ng w y u u u. A , Lg

hz h nu ex n ynh, wng wn

ex n h wng g : A g y nhng n wn.

Ey hng wn h wn , n h gu n nw

n n nhng nw. H gn, h w h u k

n h h n y k. O x. T x n

hng nw (52). Ahugh Lg n xy n ynh h,

h n ynh, n y quk y- (P

A K , Uny Wnn-Mn Sh Lw, n un -

n, Mh, 2011). Sn, hugh, Lg nn gn n, ng h

gh qu, h h gh x (56), ng h ynh

h ny. Lg u n h ex whn -ung h wk h dj G k , ng h, []un ng u k n

n . Bu h n h n h h nng (70). Sn,

Lg qu Ngn Dn Jy, ng h, n n, x ... u

g (70). In h w g, Lg n gn, y wng, nn

x.

T Lg xny n ex n h un

h n ex un. T g n x, h g

n wng. Bu u wng n n gun gn wng, x

n n gu n gn x (81). A , w f wnng, hw, whxy x , g x. Lg xn, Rx

u whn hy hw h hng nw; hy whn hy

. Lk g y unny k, x w un h wk h

n nw wk (82).


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Eu N h h h nn, wh h

xng y ng . H ng wh n gn nw nng

wh n hng , n wh uu

gnn n y x h. N h wn n

y ex. H , Rg n Rx Mhu n Sng Cu-

u, gn xny ex h n u whn kng h

dj hgy nng.

In Rx Dn, N n ex y h y kng

-x ng n h n nw ng n

, n h h h n xn h uu, nu-

ng h u ; y n unn, y n h

Inn (N).

In Rg n Rx Mhu, N k hu u

ex, ng n y, whh x n n h n hwn

u y n h (g. 1). Wh N hughy n, , n x n

ex, h w h uu n u, h u n w u y:

h egeve ahu ( egeve ex) n h eexve ahu, h wh h

h egeeave ex. T nn N nk

Lg n g ex, w nng n h x n

nn n y- (N) -w (Lg) uu.

Regeve exe , y h y nu, g, yng n h u

nu (D, n N) h whh ng x. T x-

uy h u x w h h . W x Byn

ng, g g, y u x Byn ng. In h

wy, egeve exe n gn nw u (yn u). Ty

n nw wk, uh hy hz nhn h u h wk

ng x (n ). Regeve ex n y g wh h-

y, u n hy u n h . I g.

In n h egeve ex, h egeeave ex y nn

nw wk. I n gnz, u h nn u.N g h x fw hu egeeave exe. T fw

hu n gz h -xng fw. Rh, y y -

ng n yn hn, h fw hu hng h nh h

fw ng h u u n wn. Any, n N nn


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Fig. 1: Eduardo Navastaxonomy of remix representedin a diagram he designed.

egeeave ex, ng un y un nn

ung. Tugh u w n, nn ung, ug

, hng n (N). T h ng n

unqu uny h gn nw y n h y ng. I h uny h I x n y wk.

N uu n xny ex unn n unnng h

w . Ahugh N nn egeeave ex g y

w un n h n w hng, h n

See Chapter s 5, 7, 9, and 10for case studies.


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egeeave exe n unqu w hu n gng hng. Wh

I n gn N hy egeeave ex hng

gn, hng n h n Lg g xh y nw

wk, u hugh ynh .

Tugh xnng h nh wn N egeeave ex n y

nng n djng, I h n dj hgy nng

h n n n egeeave exe nn.

or s cite d

An, T. Te Culue Iuy. Lnn, Nw Yk: Rug, 1991, 50 52.

(C n N, Rg n Rx Mhu).

Bw, B, n Fnk Bughn.La Ngh a dj Save My Le: Te Hy heD Jkey. Nw Yk: G, 2000. (C n N, R x Dn n Rg -

n Rx Mhu).

D, Mh. , I G Fng W N n K n A ny. Mg-

ng M Cnn. Bn. 4 A. 2008. Lu.

D, Guy. Te Sey he Seale. Nw Yk: Zn Bk, 1995, 110-117. (C

n N, Rg n Rx Mhu).

Lg, Lwn. Rex: Makg A a Cee Tve he Hy Ey.

Nw Yk: Pngun, 2008. Pn.

N, Eu. N n Ey hng I R x P 1, 2 n 3. Rex Tey.

W. .

N, Eu. Rg n Rx Mhu n Sng Cuu, 2010 R-

n. Rex Tey. N.., 13 Aug. 2010. W. 21 O. 2012.

.

N, Eu. Rx Dn. Rex Tey. W.

.

uk, B. G Gn Auun.Aa I a Cuy. N.., 22 N. 2011.

W. 10 S. 2012.

.


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DJing, Creative Learning Experiences, and the Conceptual Construction Kit

0 4

DJing, Creative LearningExperiences, and theConceptual Construction Kit


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Sam

Conc

Le

o

.


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Although I didnt know it at the time,when I rst began making music

with my sampler, and when I made

mixes and performed at bars as a DJ,

I was experiencing a creative learning

process. Creative learning, while

having the potential to be interpretedin a variety of ways, was dened for

me by a class called Technologies

for Creative Learning, at the MIT

Media Lab. Dr. Mitchel Resnick and

Dr. Sherry Turkle dedicate the class to

understanding what this term means,though at its most basic, it means

learning through the act of creation.


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In , h n xng h nng, n

kng h qun, u wh h k nng xn?

Rnk n nng -k h nu

h nny, wh h hugh h u n h u

n. T : age, eae, lay, hae n ee, wh n n ng

uu gnn (g. 1). In n h , h nn

nng xn n 11 gn g: eavy, e, u,

ey, yle, egagee, a a, llaa, uy, lay, n ee-

. Tugh h n gn nng hng

n xn, Rnk h n h hng C Lnng

wk u n h ny nng xn gn.

In x n ng n h djng,

n unn h djng n ng nng

xn n n .


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DJing and the Creative Learning Spiral

On h y hng C Lnng , I y gnz

Rnk C Lnng S (g. 1) hng I h xn n

gn dj n u.Iage: ng wkng un y n

hu, n ng n h un un , I u y gnn h n

h ng (ng, x, w w n

Te Mue Shw) n n h xng (xng h wh

Jn K u u hy h h n). Ceae: n -

ng y n dj x, w n ng, I ngg n n n.

Play: n h nx gnng nun k k, h n wn

n y : n hng wh whh hy n y. In

ng n djng, hw, h n uh n n. In h -

n, dj n u y. Y h nh n y h hn ungh ng g u kng h y n h n n

g. F x, I u fw h n h n h n-

n kh f n ng uu. T ng h

n y u. T , h, uy wn n y n djng.

Shae: I h y u h hugh n n hugh gng y ng

h. Ree: n , dj n h wkh h x-

n h wn u, w h n h wy h xn h

u. N unk h gn, h djng . I y ,

x, n h n y un u n. I

y n h n hnqu n whh I n ,

nng n qun n hnqu h gh h n h

. Rn h dj gn nw n ng wy

n x u.

DJing and the Facets of Creative Learning Experiences

Objects

T nng xn h Rnk n h uu-

u . Inng wh hng n n u n n nn Rnk n uk u nng. Rnk n

uk u hng--hnk-wh, ng nn, n

hnkng h ng gh hugh n ng (uk, Evave Oe, 5).

O n n quy hun nng xn u hy y


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u n hun n. D.W. Wnn, n n yhn-

y, x h n n h n h.

H hy h aal enu n h n y whh h

h ng h nh wn n h. A h n ky g

x nn h h h n nxy n n

wn h, xn y, n h h h h. T nn

a eal e(whh n n) n. Y

n ( h nn) n xn , h (13). H u h u

h n h unnng h k n h uunng n h

y whh n ny xn h y. By

ny unnng h h xn y, hn

u (Wnn, 119). Wnn wk u n h n y

n yhg n n nng. Rnk n uk x n h nn

nu un , ung k , x,wh whh n n whn yng wh Scratch. Cun h

quy wn-n h h wy n whh aal e

x n yhg wn n h h. T wn-n

h wn hn h h nk n hn wh hnk (uk,

Se Sel, 24).

Wh n w n n ? R ny, n uh, hy

ny , h hy w. Bu wh u ng? O

? I n uh un. Bu I n nu (g. 2). S n ? L k

uk evave e, , , hng--hnk-wh. By k-

ng , I un h w, k n , nng h u h -

u n un, w u h w n uu. Mu n

whh u (.g., n quny ng) h

(.g., Cua u nng Cn hg). Mnung u, k

nung , w n xn h wh whh h

nn.

Scratch is a free programminglanguage and developmentenvironment for kids, as wellas an online community wherelearners share and remix oneanothers work. (Resnick)

Fig. 2: A sound wave asit commonly appears inmusic-production and editingsoftware.


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Construction

In xng n nung n , I nggng n n n-

un wh . Cnun nh ky nng x-

n n y Rnk. T y h hhy Cnun-, n y Rnk n, Syu P, wh uy , Yu n

hnk u hnkng whu hnkng u hnkng u hng (P,

Yu Cn Tnk..., 366). P y nk h n h -

n nung. Sng n Rnk , y g: -

n hun n n nng, hn kng wh

u n w. P gu h nun n h w u

h n h h (Te Chle Mahe, 142 143). Cnun h

u nung knwg y nung n h w. I n un

Cu L-Su lage, whh k ng wh wh yu h

n (P, Te Chle Mahe, 144). Cnun

h n nn wh h nun knwg, gng

yn h wy L-Su gn h g h uu. D n-

u n n h w h hy? A nn nun, -

ng P, h h u n hwn, u, xn, , n

(Te Chle Mahe, 142). B n x x n h wy. Tugh

hy n hy u h n h, hy , n, nun.

Wyn Mh , Bn- dj, gg, n H hnu-

g, h n n uy x u u

Fig. 3: The Ableton Live interfaceLive is the software withinwhich I do most of my musicalconstructing, and is one of thetools Marshall uses to engage in hresearch.


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gg (Mhu P Pgg P, 310). H n h

ukea, y n Snh gun, h kng u

u u. H hu, dj , n x n xn

u u, x hugh h n u. In h Mn n

L x, x, h h x u nu n

h u h 30 y A hy ny, h ng

h n wk k uh y, w n n n

y y (Mh, L Fng). D whn h x, Mh

x h wy n whh n uu h hLaaa y,

nng nw nnn n nng hugh h kng h x .

Identity

In gn nng xn, n unn h

wy n whh n w h n nu h n wh hynu knwg. dj nu h n hugh h u hy y. T

qun yu k whn yu n yu dj , wh kn u-

yu y? Lk y n, dj x h nun h ny

n n, n u. T u w y n h w u y hng

u u. W y u nw un, nw gn, n hw h w n u

n. Ln n hng n Fk u, y ng u n

n, n qun ng, ng nn, n

ng, gugng h n h n. I (uk,Ale

gehe, 175 179) h w n n n wh h.

Styles

In n ng n h unuy u, , n

n-ux, n h nng xn n n wy. Ty h n

y nng, n nng n h y nn wh whh hy

wkng. M hn n nng y, n, n h n y

ngn, whh n h nk h y Hw Gn.

H xny multiple intelligences n hng wh, n

I y n n ng h h dj gy h y n gn.

I n n h wy n whh djng n wh h gu y uk n P . Ty nh nn Gn

wk, ng n wn h n f y nng (uk n

P, 8). I h h u nnuu h . f h

y n Gn ngn.

Gardners nine types ofintelligences are: linguistic,logical-mathematical, musical,

spatial, bodily-kinesthetic,interpersonal, intrapersonal,naturalistic, and existential(Gardner, 21).


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In x h u h . f y nng, uk n

P u hn ng u g h uy, u I h

djng n n h n h n. A h y

h nng hz y nn ng n n hnk-

ng, ng wh n n n h u-. T f y

h z y ngn h n n nng, w

y n h uy (uk n P, 8). dj ngg, n

, n h y. S n y h h. F n,

y dj gh hz y h h y, ghy hgh -

hn, ng hn, hng h h y ng ngy h

h h h w h u h nng. Dung h n,

I hn n h u. Oh , I gh ngg n f h

n. I gh n , n hng gn y, nng

uh y wh h u ung h n .

T n h u f h djng, ng, n xng

n ny n. I n y h hng h dj u n

x. Jn Fun Su, n h ny, uy-n u, Tughle A, u

h wy n whh w , x, n h ng n u nnn (1). Sh

h hugh h nn n ng n u gn

. T h wk nuh n n h

u hng u, h wy n whh u u-kng hng u

n wh h (nh hugh n u ), h h wy w hn k

n h wy w k. A h n n u kng (.g., fw

u ) h k ung n y (h f) ? I h nk h

h h n gn nn h u-kng n

nng. In, n y h n nng hugh h gn hng

n nng x n, I h hng h h -

h (Synh) n h h f h (S).

Engagement

Wh knwgng u y n ng, h wu n ng

xn uny hz y n nggn. T y xn ny w, ng h n y

Mhy Ckznhy. In h kFlw, Ck znhy y u h nn

uh n xn, whh n wh y xn dj, whh

I kng ng . Fw xn u whn h

See Chapter 6 for more on theembedded ideologies of ourdesigned experiences

See Chapter 7 for more aboutSynthesis and Chapter 5 formore about Sampler.


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hng x n k y u nugh w h n n

h k n h hng. T hng u hn yny hf,

gn nng n n h n n h n k (Ckzn-

hy , 74). dj nny n h yn hf n hng

nn w wk n hng, hn n x

hng k hng, ng n qunng n n , n hn n h

un u, nng h un . [B]u w

y hn n ny h u wh

uy nngu, hy h n wh w y ,

Ckzn hy y (77). W y ngg wh h w

nny , n yng n xn n, uh w

y. Fu n n k h nn n whh

ny dj .

T n nn n ky n ng nng xn h -

n nn. T nngu nng xn n -

y g n n. C Dwk, n h kSel-Tee, u

h n wn n g n nng g. Pn g,

h , u wnnng ugn yu n n -

ng ng n. In h w, whn un uu n g, hy

nn wh h ngn. Ty wn k ( h

h) n kng u. Pn g n nu g, , n

h w y. Pn g n fn wk wh nngu

nng xn u []h k h h kng fn

n h un g n wn y n uh ng (15 16).

Lnng g, n g, n hng, uy, n,

, u. My y g n ng dj w n u

. I n u djng , ng, n u u I u n I

w y , n n y, n hugh h k ng. T nn

n h y z w xn h h dj .

Y n dj n y xn n. Ln fn x-

n x n n n x n n (Dwk, 15 16). Ju n

n n ny, dj n n wy n

n h ughu h . T n u gh n

g n hn h n k djng, k ,

hu n n n yu n n. Wh k h w n


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xng n n n hng h g h ng wh -

ng , wng h uh ( n g) h ng

y dj wu k ng h dj I u .

Community

Whu h u uny, h ugg h n xn n h

h w nng hng u nngu n whng.

M, un n nng un y wng n wh

n knwg n xn h n nh. dj fn nng

un n wh h xn dj h gng dj n nw

k nwk n y nu. S h dj

h n , nn g uny n w h

Inz Skh P kz. T Pkz w n h gu dj u gh

h y hw hng hnqu n h h whh hy w gng h un hy h (Sah) (g. 3). I yz h

nng xn nw gnn dj n uu nng

ng x n n dj.

In ng uny n, dj un h,

whh f- x n nng un, n y h-

uh Hny Jnkn n Syu P. In M: Chle, Cue ,

a Pweul Iea, P n h n w w hu hng,n k h nnh y nng x-

n. T n h u n n R Jny h-

gh, u, n z gn n fn y

S h R n h uunng . S h u

The Piklz were the rst groupto take the secrecy out of DJing.The Piklz were the rst people to

just be li ke, hey, heres exactl yhow to do what we do. We wantyou to go out and do it better sothat we can learn from you.

DJ Shadow, in Scratch

Fig. 3: Stills from various videosof the Invizibl Skratch Piklz.


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wh h h y ng w hun ny hun M-

h g h wkn nng n, nk,

h n (P,M, 178). Ey u h

h n g: hy wk w h n h nx y n

n. hng n nng nxuz y n u wh

x n n nng , n nng n y (179).

I u n uy y wn nng xn n hu,

kng n nnng .

Reection

In n y nggn n h u u-

ny. C nng xn u w n ngg n n, n

hugh n h nw n n n n

u. Cnun, P , u hwn, u, xn,n . W n u wk y kng f w h . W

n u wk wh w ngg n nun. Dn Shn,

uh Te Reeve Pae, h w n y n

n-n-n (ung h n) n n-n-n (fw)

(Shn n Bnn, n Wng, 171 184). I n ng y wk n

qu n un . Wh I yng , I y n

n hw h gng, whh n n nng wh nh I

gn gh, n hw h ngh gh n h nx nn.

InJ: Culvag Reeve Leag Sah, E Rnu n u n: gn, n, , n . T gn h

n k h wy n u gnn n ng, ng

h u -ng n, nng g, n ng un

(Rnu, 14). A I dj, I n u n h n h

gunwk I , n u n nng h wy

hng w gng, h uy n h w. T w u n n n

y gn dj. T n h n, nwh,

knwg h ng y x n, n h nn

h ng n n n hng uu n (Rnu, 15). I w ky n qun gg h I y h

qun I xn ng. T h n

u n h n h n gn n hugh nn wh

h (Rnu, 16). dj un n, fn gng n


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h h y, n gng k n ung h h wk. T

h n y Shn nn wn n-

n-n n n-n-n (Rnu, 17). T w y h n

whh Rnu w, w h wn h, un h n

n n nng xn.

Extending the Creative Learning Experience of DJing

T ny djng nng xn. I n xn -

n, kng, nung. Wh hng nnn wh h

nng hugh ng, xng, n n n,

nng hgy n djng xn h h h g n n-

un unn h nyhng, n u hy un ,

n n x n n xy, . T u h

gn x nn.

The Conceptual Construction Kit

S h dj h wk wh h. Wyn Mh , w ng

u h Mn n L x , , [] wh , I gwn

n y h wy uh ng n w nn h nn

nu n w h y nnn h g gn h y

unquy n un (L Fng). F Mh ,

h ung k uy-x nng xn n h -

n. H ukeakng u u u h -n h u u n h whn h u. In xng

h h, h un h w uh hngy nu n

u ngn n k n n n n ny

n (Mh, Mhu P Pgg P, 310). T

n h : hy n h uu whh hy , h

ung whh hy w , n h ggh n

whh hy gn. Tugh ux n, hu h h w

h, wh n y, n n hw u y u

u uny, n, nun n nn (309). F Mh, hughh xng u u hugh u, h xng u h

hng n y h u.

See Chapter 3 for more aboutregenerative remix.


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Nw, hn , nu nn nn (I,

Mh, R h). T n u h n u, u n , g-kng, n

h wn (gg n -gg) w. W h h w y ngg n

h xn nn hugh h n nn. T zn

h u-un hng n h uqun hu uu

h u h n wn n nu. On k Yuu h

h n n nn, n Ing u h n x

h hnnn n g-kng. Sy, ggng h h n u-

h ng, kk (.g., Ste Khe) n hngy uh k (C, 15).

I h h , Mh n u h wy kng u u u h

w h n n h gg n xn

y y , nung h wn w. Wh w whn w yn-

hz nn n w-u gun x? T Mh u h n un k, n y h n u, u

h xn . Sng wy nu n h

whn h nun k.

I wu k ugg h ng n djng n g n h h

n -nu nu nun k h nng

xn ng , nquy, n nuy, gn x

nn.

or s cite d

C, Nh G. Te Shallw: Wha he Iee I Dg Ou Ba . Nw Yk:

W.W. Nn, 2010. Pn .

Ckznhy, Mhy. Flw: Te Pyhlgy Oal Exeee. Nw Yk:

H Rw, 1990. Pn.

Gn, Hw. A uy ngn. Se Aea 9.4 (1998): 19-23.

I, Mzuk, . Hagg Ou, Meg Au, a Geekg Ou: K Lvg a Lea-

g wh New Mea. Cg, ma: mit, 2010. Pn.

Jnk n, Hny. Wh S Sh Cn h U Au Py Cuu.

Ce a AaFa. N.., 14 N. 2011. W. 24 N. 2011.

.


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Mh, Wyn. Mhu P Pgg P.P-ulue Peaggy he

Mu Cla: eahg l Aea Il Yuue. E. N Bn.

Lnh , md: Sw, 2011. 307 15. Pn.

Mh, Wyn. Mn n L. Clue Mag. N.., 11 A. 2011. W. 21 O.2012.

Mh, Wyn. Muy-Ex I Au Mu. Waye & Wax. N.., 13

A. 2006. W. 10 F. 2013. .

P, Syu.M: Chle, Cue , a Pweul Iea. Nw Yk: B,

1980. Pn.

P, Syu. Te Chle Mahe: Rehkg Shl he Age he Cue.

Nw Yk: B, 1993. P n.

P, Syu. Yu Cn Tnk Au Tn kng Whu Tnkng Au Tnk-

ng Au Shng. Cny Iu n hngy n h Eun 5

(2005): 366 367

Rh, M. Gwng U Dg, W Dn.New Yk e. N.., 21

N. 2010. W. 12 D. 2012.

Rnu, E.J: Culvag Reeve Leag Sah. T. Mhu

Inu hngy, 2009.

Sah. D. Dug Py. P Pu, 2001. dvd.

Su, Jn Fun. Tughle A? Sn Fn, ca: Chn, 2005. Pn.

uk, Shy.Ale gehe: Why We Exe Me ehlgy a Le Eah

Ohe. Nw Yk: B, 2011. P n.

uk, Shy.Evave Oe: Tg We Tk wh . Cg, ma: mit, 2007.

Pn.

uk, Shy, n Syu P. Eg Pu n h R un

h Cn.Jual Maheaal Behav11.1 (1992): 3 33.


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Case Study: Sampler

05

Case Study: Sampler


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rocess

.


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Case Study: Sampler

Sampler is a conceptual prototype for

a research tool and servicea platform

to catalyze the process of selection,

sampling and mixing, in the hopes of

revealing previously hidden connectionsbetween pieces of information. It is based

rather explicitly on the interface and

experience of the Dr. Sample. Sampler

is a platform for rapid, improvisational

exploration of connections between

content and is based on the processthat DJs go through in preparing and

performing a set or creating a song.

Sampler aims to foster an environment

where limitations and improvisation can

help learners nd new and meaningful

connections between pieces ofinformation and help prompt curiosity

and a deeper inquiry.

For more information about the DSample, please see Chapter 2.


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F n, y h h hng gnnng y wh qu. In hgh

h, whn I k h h wng , h wu fn gn y

--gny ng y nun . Sh wy k , n h

un y nuy gh, I hugh h wu wn h

h y h nun w nng nugh. A n hgh h,

y h g y n hng g h n I ny

.

H u un y w ng nuy gh w, u,

qu. Sh n I wu kk k n h hng h , n ngn-

y, h I w ng n h gun I w k ng. T

fn qu h I g k n n e h h n I h y n.

y hgh h , h w nng n u ng. Shw, hugh, I wy

n u kn- n k n h u h I wu n h hw nun n u. I wu n n n y kh n

u k u n u nn, n, n k h

h hugh w gh n hng h. M hn wy hnk ng u n-

uy gh, wy ng nw n nn

y y wng.

T gy w u yn u wng . I z h h w

n wn h wy I n h nn n y wng

n h wy I w y hng u nn. W h y h n I w

ng w uh k h wy I gh g u hng n y n n h I w hng wu wh wh ng I w

wkng n whn I x h gh.

In , hng (n u y n hu), ny ,

ggng, n y hng . I h wy n n y h

nh wn h dj y ggng n h dj x ng ng

u. Whn dj k u gg ng , w ng h ngng

qu h u y u u n un w n n h

wk n wh h w ngg. Yu gh un h nqu

h n u n wh u gy , kn-w y y y unknwn n ng -

n y 1978 Mg ynhz u. T hng n h

un kng n djng gung u hw n h n

yu u. T y n ny u (g. 1).

See Chapter 2 for moreinformation about my

approach to musical content.


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Case Study: Sampler

I hnk h h y n y n dj

, n h , n y g nu n n wng.

w nnn wn nn, I , unquy

hun y hn k h n y u ngn.

W hun n nn y ggng, , n n h. W n

k nnn n whn h nn n g y gnzy. In , h whn u wk hn.

S gn h k , hw n w g un n

g u un nnn n nn? I k hw

un n h u e wk n nngu wk, n hw u-

n n k u wk . M y, xng h

nnn wn nn. I yz n n xng n

whh n n n h n n nw n nng u nn-

n wn nn, ng uy n nquy.

Fig. 1: Me digging for records ina used bookstore in Jerusalem


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Genesis and Design Process

Phase 1: Failures and Articulation of the Methodology

A h gnnng h 2012 , I ugg ny h u

h x h hy u nng h I h gun . I n g

wng n gng n whh w y u

nng wh yng h djng. I h n, hw, y

u h djng, n h I y x y wn djng xn

n wng.

A n ung h y ugg, I h I n k

h n gh x n hn ng h n wy n whh

n h u n x. Bu I h n u y -

n y wn hgy djng, I n h h wh wh hI, h gn, u ngg h nn. I h nn h , u w

u n h nn h I ny hugh n ng n xng gn

n. My , h n n dj, y nnz h,

y , I h n uy x n n y.

In y h nn hugh whh I wu x y hgy, I k

y gh gn. I hnk hw I u x h

yghy ung h hu . I ng h G Sn y

hugh h n y ny zng nun n hg, n n ng ,

u wh h n u h y n nh ny . Whu nng , I y n

h nn h, hugh I h wnu nng xn, I n u

wh , n n x n n h u h

yghy n gn, uh nng wh.

T I x n n x

, h u y wn x n dj . Dung h y g

y h h, I w y uh kn wh Nh C n h u-

ulg . C u h ununng nn hugh h n

y, ng h u n nn n hn nnn k n (94). M ng , hw,

w h x unun ng h g n nu g gh

k ng y n Gg Bk, nu ng ng n

n u, n n ng ng u ngn n g.


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Case Study: Sampler

I gn x h nng h h ngug u,

ung uulgn alg. I gn h ununng,

ng h e-ulg n. I y h n ng ,

n ng n x ng u I w h ngug djng w

nh n h.

In xng h nng ununng n -unng nn, I gn

nng xn h : uulg, e-ulg, nuxa .

Cnnung h I n gn wh nn y

n , I gn n nny uuu un

h w, (g. 2). By kng n unun n -un h u

nng h u w, I hugh I gh

nqu y. I ny , hw, nyhng u

ngg wh h nn h wh h I wu h wn n nggwh h nn. Bu I wn h nk ng n y n u

I w ny hnkng u n u uuu uy, y y

hw I w wkng hugh h nn w . I w un h h

I gn wng n u y xn dj, y y xnng y

n hgy, w h wy n whh h n y

nng xn k.

See Chapter 2 for more information this process and theseexperiences.

Fig. 2: Early whiteboard ideas forthe roots curriculum


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Phase 2: The digital analog

A I w u y nun wh ng n djng , nung y D.

S, n x y n dj n u u, I gn wn

whh h xn I h w h h D. S u n n u u. In y wng I h y wn nnn wn h wy I h,

, w , n h wy I dj . By wng n

u y djng , y h ugh h n h D. S, I

un n n h u n x n nn. I

I u h D. S wy x nh wn u nn, h

n n h wun whwh gn hng

xng h nn.

Hng n nng Mh Rnk n h Lng Kngn

Gu h mit M L u h n gnng nun k k, I gn h D. S nun k whh h n

u u. S w h u ung k nn whn h k.

Wh I n z, hw, w h h D. S ugh hn u

h u. I ugh u h hy u y

g n zz y k , h unk n u I w uy-

ng n n u y h-h u. T D. S

nu n k u hy. T hy n, u, n nhn h

hngy h D. S : n - wh h n

n. T h hngy, h wy y xn unn, h uu -n nng g .

Sng whn nx: hy h n . Ty k n

h fn h u n uu . My knwg h u I h

h y h gn n unnng h ( ,

hy, u) whh n, fn , hw h

nn. kn uh, u n n . T

n n y, uh w ung y h ng .

I n n n wy: u y n

u n n, n hu y n h uu h x n h

n . T u uh y k u h uxn h

uu wh h uu nx h ng h ng.

See Chapter 2 for more aboutthe Dr. Sample.

See Chapter 4 for moreinformation about the tenetsof designing constructionkits for kids


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Case Study: Sampler

On h h u ( nn-u) h D. S w hng

n. Eh nk u h ny gh h un.

I h k n u whn n nk n

h, ng unnu h w

ngy ngng. I u n nyhng I . I u k

ng, 4-k , n hn w y ,

h I knw I w n ky u n h nx ng I . T n

n uh n h wy h I wk wh

h w I u u. I I wn u ng un n , hn

I wu h wy n whh h n, nn wh, y

y . I wu n h n n -

ng n h nnn h un . T n n-

u u-kng xn. I, f wkng n n ng wh ,

I un y gnnng wk n n ng, I w h . I wu fn n h h un

whn x.

I h fn hugh h hng hng whn I k u y n

h u, h h g y u-kng h n n

wy. I u nyhng, n uh I wn. Py

whng, n I gn k wy ng h w h ,

y n fn ng n y h gn h fw I w ung. In gnng

n n n nu , I h n nu y.

I n h g n wn h un y u

kng n h hng wugh y hngy whn nyzng

hnk ng u wh. Mny uh h u u , -

, n n ugg wh h ngn n ny h g, x

wh wh h w nn n y (T, C, Rh). A-

hugh w n wy ng h , w fn k n n u-

n h u, k u , g u n h w

uh u. In u n n ng wy n wh h

nn, w fn y n un u wh nngu u u

(ahe-eaale eag), n yng gu u wy un u wn h nng (hua-eaale eag). Y h y

u g x nng h, hn- nng,

h nngy n n nn h hun

y gh (.g. k ng) (Sn).

See Chapter 6 for more onthe embedded ideologies ofour designed objects andexperiences.

See Chapter 12 for more onmachine-readable and human-readable meaning.


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In nng h wy y D. S nun k h n-

u u-kng xn , I w h D. S n-

u n un k . I gn wn, u n

n hng wh whh hy u u n g un nw ? I gn

h u h wu nu n h h gh un

n h D. S. Wh wu h n k k u u x , ,

g n u? Hw wu x n ? Cu h n n h

nn nnu, n xn n-

y n h u n x nnn wn nn h hy gh n

h hw n? I wn h S u h u

g un n h hun- nng.

Phase 3: Prototyping and Testing

I gn ng h qun y kng y, yung h n y gh un nu 1 hugh

8. T wn xy y h xn I gn; w u y

, u (g. 3). Hng h nn

y n, I z h wh u, n u y n yn

h u-kng n . Hw, wh h, whh u wn,

kn- y ny. I u y whh

h un n, wh 8 qu, h whh, whn , wu y h

nn h nng (g. 4). I gn h h -ggng

unny wu h h D. S: u n h un

n h , h nng hwn n h n n h y

u ( n n). A x, x, gh nnuuy

uw n hn whn h nun (g. 4). Un ng gg,

u wu . V wu y n hn.

V wu n wu whn gg (g. 4).

Af ung h wh P B n Lu n hwng h P- n

k-u h dmi M-S R w, I w n

unn, n y. W k u gnng h y n whh

h nn wu unn. Bn k u h n wy n whh u- gh nun h nn hy , n hw u wu x

n h h x.


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Case Study: Sampler

Fig. 3: The rst iteration of thepaper Sampler interface

Fig. 4: The rst iteration of thepaper Sampler display


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Tugh gn gu, I gn ng h y

unn y w h nw h qun Bn h ung

u ng. n n y, I k k n

un h I u ky hng k y y wh MaxMSP/Jit-

ter. In h Sng 2012, I h wk wh J B n hy n

uu nn u h An L h, J H. F h , J

n I u MxMSP gg n u n hy nu n

n h w ng h wh g h (g. 5). I wn

I u g h fw w h wn n M x y u -

h whn h h gg h n h S n. T

wu, u, gg y uh n y g h , u h nu

w y h .

I h n n nu h S n. I

h y y x n h r&b r&d nu h u n

Phn uhOSC h w n osc y hn

y u I uh h uz n n n h Phn n.

uhOSC wu w n n wh u u uy uh u-n n n gg ny y n Mx MSP w n

y u ip .

MaxMSP/Jitter is a visualprogramming environmentfor the development of mediaexperiences. Its interface isbased on the metaphor ofsynthesizer patches.

See Chapter 10 for moreinformation on the R&B R&Dproject.

Fig. 5: A video still of mehitting one of the buttons witha rubber mallet during thetesting of the Joe Hill piece.


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Case Study: Sampler

Af w y nkng un w h MxMSP/J n y Phn, I h

n n y. A g h y, n u

u gg gh -n x, g, n . V w

gg n y whn u h wn h nng un, n un

whn u g h un. x uw n w gg n/

n h n (g. 6).

Wh I w xng h gn h n y , I wk

y n whh h S x n wu x (g. 7). S

wu n u n n , u h nn w xnn, w

xn, n, n y u. I wu gn

nu nun wn u n nn. I wu

n xn n nun, n n g u wy nng

wh nn h n hun, nu nnn-k ng,

wh h gng h w un n u h

nn. A u u, x, g n h w n n nw nk

y gnnng nw h (g. 8). Sh u hn u

ng y h h g h h gh y nng

nnn, n h gh h nn nu nun

(g. 9). Sh wu u h w xnn n h (

x) u whn h nk 8 (g. 10). Ung h -n n y u (.g. , n), h

wu hn h h, ggng n n ng

ny nn n (g. 11). Un ny ng nnn wn , h

u k n h, ng h n

Fig. 6: The rst test for theinteractive display, using a gridof squares in TouchOSC on theiPhone as input.


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Fig. 7: A user journey diagram thatwas part of the service ecosystemdesign process

h nnn whh h n x n h w n (g. 12). T gn n

nnng h h y h nn h I h y

y h u y h xn h I gny

nn n y y y kh.

SamplerU S E R J O U R N E Y

1 User is introduced to the service.

He or she creates a username and

login on the site, downloads the

smartphone app, and installs the

browser exten sion.

Welcome to Sampler!

2 User creates a bank of samples for a particular

research project, either using the web application

on the site or using the app on his or her device.

3 User may ask for a prompt to begin

populating his or her samples.

4 User begins to dig for samples.

5 User nds resource to sample and

adds the relevant content using

the browser extension.

6 Soon, the bank of samples is lled. 7 User mixes research by perform-

ing using a display and the apps

interface.

8 User sees connections between

samples and annotates them using

the verbal annotation feature.

Username

Password

Download the app!

Install the browser extension!

Add new sample bank

Assimilation

Add new sample bank

The Sampler system is comprised of an iPhone app, a web app, a display (a computer

with an IP address, an AppleTV, or digital projector), and a browser extension.

Find an Image about "assimilation" that

relates in some way to Science.1 2 3 4

5 6 7 8

R ec or d P ro mp t

1 2 3 4

5 6 7 8

R ec or d P ro mp t

1 2 3 4

5 6 7 8

R ec or d P ro mp tGoogle

Assimilation and Science

Search

http://webpageurl.com http://webpageurl.com

1 2 3 4

5 6 7 8

R ec or d P ro mp t

1 2 3 4

5 6 7 8

R ec or d P ro mp t


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Case Study: Sampler

Fig. 8: A user begins a newresearch project using the Samplweb interface.

Fig. 9: The user asks for a promptto help her get started with herresearch.

Fig. 10: The user adds researchto her bank of samples using thebrowser extension.


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Fig. 12: The interface with

which a user interacts to hearthe voice memos she recordedduring her performance ofher research. The interfaceshows her which sampleswere playing while she wasrecording the memo.

Fig. 13: A user prints andtakes notes on the screenshots that she capturedduring her interaction.

Fig. 11: A user then performsher research.


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Case Study: Sampler

A I n h h , whh I h wu u

n n y n wkng n , Bn , n wkng

wh n n n, k , n ghy

h djng n , wy. On h ung n u

hng h I n y ng k n h wy w h h

kng h u h yng-

wh-h-y.

By ng nnng ux-n n wkng hugh u h

wh y w, wh y h n h n h , I w h -

n wh wh I w ng u ng. Sh u h unn h

y (n n hw) h I h . T w k n

h w n n (g. 14), k w xnn n n

h n y h n wh h y uh I h u n MxMSP/J. A w n hugh h qunng h u

nn n h , y w k qun u why I h

hn h h n wy. On h n u

h , y w h k. Sh h,

, h xn wh h n y h x w wh-

ng, u f nng yng wh , h gn nnn n

ny wy n whh h gh u.

Fig. 14: The prototype mobileapplication interface.


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Anh h S h I y w h wy n whh h f-

w gh u n nu nun wh n-

n h y y nng nnn whn x. I w n n h

ng y, uy wh nh u-kng. A dj, I ngg

n -un - ng/n y whn I w ng

dj gng y k , y whn w h nn

ng u ny h y. T w hng h I dj whh wu h

n ng h hw gh y. S

I wu y u h n dj w h I ugh

h n gg . Oh , I w n n xng u y

xng n nun, n wu u h wu h

xn. P Bn Lu k hw I gh ng

xn nn u.

A hugh n n n h n fn u

xn (Nhnh, 78 89), I ng hn h w -

y nn yz y, uy n u-kng. Inun u-

n n Bn En k Olque Saege, h

nn n n u wy hnk ng n wkng.

I un h, wh n ng, y u wu ky n hng n.

I h ng xn n h y h u nu

n h S y. A u wu n y nn

u h nquy h n wy n. E

n h h hng: y , h nquy, n n.

F x, Fn ( y ) u n () h n

wy n (n). I w- y h ng

xn wh u u nu rl wh h wu y

n (g. 15).

A hugh h n nu wy unn n xn h dj h-

gy, S uny x ny -unn y. I h

w, I w n g h n z uy-unn

y.


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Case Study: Sampler

Fig. 15: The website I usedto test different promptingmechanisms.

Next Steps

unn h u h xn I ng wh S, I

wu k g y w n ngng S unn-

y n n hgh h g un. , u S

n h dj hgy wh n h un, hugh S u

u h h h w. In n nn

wh hgh h n g u, w n y w n n xn

n u, I h un h h n uny n n un ng

n nn gng ynh n ny nn.

S h wy n whh u ng wh y u g y

n n y h n u n h , unn n -

n u nng wh unn, n n h wu

nu. F x, I wu uy ny h y

ng y u wu n. I wu n u wh g

n u un h x n nnn y hu . Tugh

h y, I u ng whh h y u x

whu nng ny , uh n n n

y . I I w y n h w n g n n un h, I wu n u wy n whh u

u, n n, n n h wk.

See Chapters 7 and 10 for otherexamples of user testing in varioustages of delity/interactivity.


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Dun Kn, h Exn Dgn SnN, n k , wh

n h ng h n? A wh n n yu k

h n hn h n gn ng n , kng

h n h n n xn? T qun h uh

ngn. T n n uy n . I w

n nu n gu-wk h wh h nx n h n gh

. An xn h , hw, wu n n h

nnun h .

In n h n unn y, h nx h

S y n h hugh h gn h nng

xn u n n. I h I u nnu gn wk

h nquy- xn, h h n

h n unn . I wn S, n n hngy, gu h xn.

Conclusions

T I hw h -y nn h n u, P

Hh Shw h h wu u uh n h Dgn Hy

h h. Sh n u h wu h h un w nnn wn

wh hn n gn n wh hn n u u g. O h u (nu-

ng y w) h nn h hy n n S wy h

un unn u hn nh wn n n nw uu hnn. T h g n, g-

hw xy n . Dun, hw, gh n kng h n

n uh n gy. I hugh I ny nu

h, hn, h I n knw wh h n h . I gh n h

I n n x n h n, n, n u, u I h n

y n h wy n whh h xn hu x n h ngy

n. In h , u, S-k xn h x whu h

u h hngy. S h wu uu n nu

wk u y h u n h hgy n

whh h (n y h wh) n u. Y h wk n whh I

ngg u u , n h S h.

T S h h gn unnng why I h dj

hgy n n n h un nng n ny


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Case Study: Sampler

y. I n h h h hn k u uy unn -

y h xn. I knw, hw, h y nn wh un

n ung h y h I h u, n wh h h unn-

nng h y h, h h unn h S

wy x y u h un n u n ngy n-

ny .

By gng h y xhng h I unn unquy hun

uyh S h h n un n g

hng nngu nng xn h n n h,

hun, n n uny . By gng wy hyy n

y u h nu n h nng , I gn h n h

I u uh n h. T S w - x. In

k ng h xn n h n x y h unn u y h h, y wk w k

n nw wy. S n u wn un n

hun nu. I u n nggn wh un n n h

h u k n n nw wy n

u wh n nn k n nn. S n

h: uu h I gh n x.

or s cite d

C, Nh G. Te Shallw: Wha he Iee I Dg Ou Ba. Nw Yk:W.W. Nn, 2010. Pn .

Nhnh, Shn. Fee Play: Iva Le a A. L Ang: J.P.

h, 1990. P n.

Rh, M. Gwng U Dg, W Dn. New Yk e. N.., 21

N. 2010. W. 12 D. 2012.

Sn, Kn. T Agh T Gn Ou L. Sh. Lf Cnn

2011. cic, Gn, Swzn. 4 F. 2011.Lf Ceee. W. 1 D. 2012.

.

T, J. Bg D I N h Nw O. Hava Bue Revew. N.., 30 N. 2012.

W. 01 D. 2012.

.


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The Missing Dr. Sample and the Embedded Ideologies of our Designs

06

The Missing Dr. Sample andthe Embedded Ideologiesof our Designs


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Me performing a DJ setusing Ableton Live.

D

rive

b

th

a

ara

us.


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I dont know where my Dr. Sample is

anymore. I took it to a friends house

years ago to do a recording session,

but, strangely, I dont remember whathappened to it afterward. I remember

being so enthralled with my newly

purchased Ableton Live software and

my new MacBook Pro that I must have

gured the Dr. Sample didnt matter

anymore to my DJing practice. It tooka long time for my excitement about

Ableton Live to wear off.


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I ugh MIDI controllers h n n ky, n , y

D. S n n y, y k ng wy h gun

y nun. Sh ng u y u hng, hw, whn uh

w y n y u. T wy n whh h ngy

y xn h hf. Ey hng w . Y h w wn, n

y n , h wy.

I u h hf n h wy I w kng y u w. T w n ,

h, xng y n y n y u wkng hgy. I

n un h n kng , k ng un n y , -

ng h n h 4-k n -wng n wnng

un I un nk n . Gng y y, I wu un k

wn, n n hn n ny ny n n n ug

n un h h y n y . I w whwn. I ww. I w g .

T k I w u h D. S n h 2012 , n

I gn wkng w u-kng (n h I h) h

k k h wy I wk fn-y-. I n

y n n n wkng. Tugh y

u-kng n xy h n w, I k n

h wn h k, hng u ng, ng. I

k , n h ng y h, unn h I n gn

y n y u-kng n h g n h I h whn kng wh h D. S. I h

nn n hngy u h h h wn, wh h

h gn n h h, n,

y y nng u x n.

D y y D. S n h u I nun n -

ng u-un h k y u n y n n, I

n u, uy hw. T wy n whh hngy h hng

h u-un unng. g xn, h h

yng : n-unng u-un n qu h n u n w fw. Ny nyhng wh .

T , hw, wy kng h uh whn w y hy

n fw. T gn h fw , h y ng w qu y

MIDI controllers are physicalinterfaces, typically with but-tons, keys or knobs, that con-nect via USB to the computerwith which you are makingmusic. MIDI is the protocol that

these interfaces use to controlthe sounds you are making

See Chapter 2 for more aboutthe Dr. Sample.


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n n, h hhy h y, n ny h un -

nnny ngu u-k w kng n n n

n whu n knwng . kn g x, u gh, wy

u uy, k h ng u nuu uh ky. T n

y h u un h , h ny u n

. T n h , nn uu ny

n un. Nnh, un nng ny, u h-h

n r&b u, n nn h u h h ng. In n nw

wh pr, , h 90 gu Su Mh, , I u n n h

nw... un k n ng ng (M).

On h n n h y u. Sng

wh u 70 ( 140) nu, u h z y

n xu u 808 Du, k ynh un, n xnh-n hghh. Sng ynh n nn u fn ny h y r&b

n ny h-h w (hn k Rhnn). Y ny,

u n u (h-h nu), n uh y h u

wh whh u wk y y . Ou n n h

wy n whh u hng, u u, g n h .

An h hn h u w u u wk n, u

n h h h u n (Fu, 32). Ou n,

y h n y u n u nngy h n hn

g, u-kng u, n ny k ny n, n hw

h n y .

I wn wh h n uy ng y h nng u

un, u h hu k h n n whh n uy

ngg , u h u n h n. W h

hng nw unnnny ung u uung un h

n h y h quy h h w whh u nw

--uy gu?

Exn J, gn n h Nhn, h h n-

n h h unn gn n n gy. F y nw, I h h h yng. Wh y nu,

n hnk u h yng y n hn k k u h w,

h yng gun h g n h gn w un u.

Whh h gn u- kng fw nn un y-


81/178


, unnng h gn y g n un h nh

wn h gn, h w h n un h n h gn, n h

wy h gn nun h wh n wh .

or s cite d

Exn J. Dgn A R.Exeeal Jee. N.., Jn. 2006. W.

04 M. 2013. .

Fu, V. wa a Phlhy Phgahy. Lnn: Rkn, 2000. Pn.

M, Shn M. T M ny Sun O 1993 By A R.npr . pr, 28

M. 2013. W. 19 A. 2013.


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Case Study: Synthesis

07



83/178


on

thro

con


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Synthesis is a service designed to helplearners create specic, arguable thesis

statements for research projects. A

proposed web-based research software

and service, it is intended to catalyze a

process of selection, connection, and

categorization. The interface itself helpslearners visually explore and annotate

connections between information, while

also prompting learners to articulate the

relationships between these connections.

By identifying the similarities between

the ways in which pieces of informationare connected, learners synthesize their

research and propel inquiry forward.


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Introduction

Leg he Zuguzug ee a eaea aga a aga, aug ew eag

ew ex a eallg ( eallg) he a evu uee,

we hea hw u a aw a eaw he le uy, ellg u llw

alg, ee whehe we lke .

Waye Mahall, auh, eeahe, ehulg, a el-ee

ehulg

Rng, h, ng n nng Wyn Mh h

wu xn. qu h n h h u, u, fn

y, h h n h u h . x h h, ny n

u nnn ggh n h, Wyn n x

ng, nng n ng n h u n hugh hwn h. T wy Wyn, k nwn u-g dj Wyn Wx,

h h h qu h wy n whh h I gh

dj gg u.

On h n -nung h ng u ng dj ngh

n h wn k ng whh yu gng ng wh yu. Tugh h

u n y nqu n u w Serato Scratch Live, Ableton

Live n h g n h w u y nyhng

ny , n n un h wy n u n g dj

. T n n h ng hy: dj n J w gn y

. T n n quy whn yu

ng hugh yu un y whn yu ng w 1,000

n yu n g u u wh k wh yu h (g. 1).

T n wn yu w ny n yu un y, u, h

yu un y wh yu. Wh S Sh L n An L,

w h u-kng hng h n n n un,

dj n nw y ny ng n h u ( n h u, h ) ny

. W fn w h y n uny ng, whh h

hng g y. T , hw, wk h y

y nyhng ny , uy whn h y n xu

n.

Serato Scratch Live is acombination of a sophisti-cated software, a small pieceof hardware, and speciallytime-coded vinyl recordsallowing DJs to play any songfrom their computer, and ma-nipulate it physically on theirturntables, as if it were on thevinyl they are spinning.

Ableton Live is a versatilemusic production and perfor-mance software that is usedboth for recording and liveperformance. It is extremelyexible and allows for a diver-sity of hardware integrations.From club DJs to contempo-rary composers, Live is oneof the industry standards inmusic-making experiences.


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I n g h I h n y dj y ung S

Sh L n y ng ny. H y u Bg Punh ng n w.

Nw, I n n Bg Pun, n h n u hn h y n h -

u n hn h n h . T nwy xn

, hw, nngy nn I h n h n , -

zng h h ng w y n h n h un y.

A w y , I Te Shallw, y Nh C, I un h u h

C n n h ng I w hng, n ny u y n dj ,

u u hng I w ng n x nng n n. A nn n

, n h un u ky k,

nngy u w gh nn n h xn

h uy nngu.

Finding a Collaborator, Making Connections

Aun h y -gu-h w ng u y C, I w wk-

ng n n gnn n n uzng n gnzng -

n , n gnn gn ny -y un n u g. I -

n y hng w wh nw qunn, Jnh, wh w

Fig. 1: Four crates of recordsand an extra turntable in theback of a friends car, readyto head to a gig.


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hy h hgh h. Snng u h Puk Hu, u

wng h, w gn k u u ng nun n

u. B h h h n n, Jnh h y unh n

h ugg h hng hy hgh h un, h g n

wh, hugh hng gwn u wh h nn , y z y h

nn. Ty w fn un ynhz h n n gu

h h gnn. T n , gugn

nn hy h n ng h wy. Ty qu g ngh

n hng n y nhzng nng. P h , Jnh

, w h n xn n nn w n-nung. T

y hgh h un, n xn, wu uu quky

h whng un nn, hy gng qu h

w whh h h u. T xn nng -

, u n u h ( ny h ) w gn n Jnh un.

Whn h nn hngy n u ,

h u g wh Jnh. V nn h n wh

g un n n y nu nngu n gu n-

h h whn h nny ny un ny h y

nn h. (D n Hk, 9798). T

y h whn un n nhu u h h nquy n

whh hy ngg. In ung h n nu ggy n

h u , D n Hk un h un n

ny-nngu un nquy (98).

Rnng u u uu hgh h y, Jnh n I

nun f w : h y w , g, -gu

h nqu . N ny w u y uu u w wn w

h, u hy w uu u h wy n whh w ynhz u

h, wng nngu nnn wn nn. On h

h hng h w quky z w h w w n h yng

hgy gun n ng . W w n n h -

h u ng wh u gg. W u nu

. W h h nn w n nny, n h g,

4" 6" n, n nu w n w h h uny h


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y. W h ng-n h u uu? W n hn-

h u, n w h h nu h u

u h nggn. Jnh n I , hw, n y

h w w u u unnng . W n h h

n n ky n, wng nnn wn , n

gzn h n nnn.

A w u h , I w n y n k y n

n, nng n n y n y . T n n-

ngu xn h n whh I w djng , , hng

n y y , nn n gz y y .

Jnh n I hugh w un n h x n h h u-

n h hw . Cu g u yn h n

nnn n whh un u ngg n -n nqu y? Cu h

un uy uz n n nn n x nn-

n n gzn, uy yng , gu h n?

Wh y x n u h un un n h u ng -

wh ng y x nn nngu nnn?

T qun h Jnh n I w xng : h n

un y x n nw ng h n I w n ng n

h. Sn, hw, h w h Jnh n I h uy n ny

gh, I h xn u u gu g n wh w I h n

wkng n.

I Jnh u y , whh, h , nu yng n

ny u-k ng n gn h ng h wn u. I

hw h x u-kng n, uh Shx, h

y n gn h u zn . In Shx,

un n n h n, , u h. T n

h h nng n h u h (g. 2).

Anh u n n u h n n-, whh

w, h gh h un, w nug u wy h y-wng . W k h wk Mk L, wh n h

g ng h x nwk n n h nu

n h wnh nuy (g. 3).


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Fig. 2: The interface forShapemix, a music-makingapplication for the iPad thatuses circles as a metaphorfor samples, and illustratesthe effects applied to a

sample through the waysin which the circles visualproperties change.


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Fig. 3: A detail of one ofMarc Lombardis studiesfor a diagram in the GlobalNetworks series, entitledGeorge W. Bush, HarkenEnergy and Jackson Stephensc. 1979 90, 5th version ,1999.


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A Project and a Process

Sn, Jnh n I z h w wn u kng u h un

wng , n w w k ng u h gnn I h nn wk n.

W h u y g un gh. W wk n -

y, h ng h n h h. I wu unn h wk

y gn u n u h Jnh h y nn -

gg . W n hugh wu hng h w u y

n u n n un h n h .

Ou g w g un h y nn, gz, n nn -

h n -n, yn, u nnn. W h h xn

wu h un gn nw ngh n h nqu w. W wn

wh w w x n

h h I h ng dj h Wyn Mh h wh ng n

xng h h u nu h u h nqu.

Jnh n I y gn ng u gn

nng. I wn yn h gn n n n h gn y,

g n h n x hugh h

nnn n gzn.

W n ky n h xn h w knw wu n. T

w h h n h g hu hghy unn-

n wn h hu y n h u. T

h hu w gh, u n n nh.

Annn hu h h n djng. Ty h u hw

hng nn. Annn h n y (

n whh I gh w n y uh , My

Bk) n y y h, ng n n

nng. Annn nhn y y . Tu, h y n-

n, gz n nn gung n h .

A n u ny ng h u h 2011 ng , w -

u kh I h ugh, wh ng h w h h u

quky y u . Lnng h n w u ,

w u y n n u. Tugh


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y gh n nu n h gn , w n u

unn h w h g un x uh hn g ; w w

ng , hgy, nquy. W k u, w

h w h u hng, hw wu w u h n

n hgy h w w ng? Cnng u ng h

n n - wh n n ng , w hy n

h n w h gn (g. 4).

W gn ng u y y gnng u u whh

nh u h ny xT Hn Dyny. W g u w hu

u wh uh h w u, nnng wh ky

, h wh whh w u . W u

n ky h w hugh w n u nquy: h n

nng, Cnun, E Wu, Lu Bn, h Qn Dyny, T R-

n h Sn S, h Sk R, Unzn, X ng Yu, n h Xngnu. W

w u h n n , n hn nn n wh

ng n n , nnng h nnn wh yw . Whngu w nnn n gzn gw, n nng u whh

w n u (h n wh h n n h)

wu u nn h un u h nqu y.

Af w hu wng nn n wn n ung n-

Fig. 4: Our paper prototype ofthe connection and annotationsystem and process.


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h wn g , Jnh n I n h n ng

h Hn Dyny nnn w uu. I k n n

n . W h, n , ngg n h yng n

n n n h n. W uu g -

n h xn hugh w n n u n.

W gn n y hw h g wu wk, wh

wu u , n hw wu ng wh h nnn w

y nhnu, hwk nnn. W nn w n

h wu n h n whh w ng u (g. 5). Eu-

wu h n y un hn un, whh wu w

n n n ng (g. 6). In

n gnng h wk h xn h u n u-

n, w u n h gn n hghy un xn h

n . W n hw un wu h, nn

h, nn nnn, n g. Sun u y gy,

y nu nnn, n y y nn n (g. 7 11). W gn

u ngug un h u nnn n g,

w hw ny nnn n g h h h .

T y n x n un hw h xn gh h ng

n n un n n .

Ckng n nn nu, h g n n n , whh u-

n h n h hngy w w ng, y n n xy.

In gng w h y, whh Jnh n I h gun

Fig. 5 6: Synthesis wasdesigned with multipleusers, devices, and

synchronous/asynchronousinteractions in mind.


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Fig. 7 11: Adding a piece ofresearch, drawing a connection,

annotating a connection, adding acategory, ltering by category.


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Synh, h g hugh y wy n n u gh

n wh h w gn. T kng h , hw, h u

ny n n n h n n xn.

A h I wk n h u gn h n , y nu n h n n, Jnh wk g n u

u ng n wh h un. w h w hu

g n wkng n u h Nz w. W y -

n u n h , ung yng h

wh w h n Jnh hu. T un h u h wk f w

h n h h un, n uny, Jnh h f h gn-

n h n. In n u y, Jnh h un ng n

h h n n y , whh n n u

n n n.

Ou y -yng n u ng wh un n A.

W gn h y k ng un k hugh h h n

ny n ky h nquyh n , , , n.

Sun k hugh h n n wh hy hugh

wu h h h gnn. Ung wh w

h u h n n n u, Jnh n I k h u-

n nn h n n nn h nn n. Tn, f

u 20 nu, w k un gn gzng h h w

h nnn wn h. Af nh h-hu , w kh un n kng h h nqu, n hn

u wh f h n y h n h (g. 12 18).

Turning into Something: Moving Forward with Synthesis

I unng n hng! An xn xn ung h k

n h . T w un n h wh w ny ng

nw nh wn h h, ng nw gn

w h hugh h g h nwn n whh hy wk.

Tugh u n n h h u h y, w

hugh un wh un n k uy, I n h u -

y Synh, n h , n wh un.


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Fig. 12 15: Students i n Jonahshistory classes engaged in ananalog version of the processthat the Synthesis softwarewould facilitate, drawingconnections between researchand then classifying researchand connections.


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Fig. 16 17: Students inJonahs history classesengaged in an analog version ofthe process that the Synthesissoftware would facilitate,drawing connections betweenresearch and then classifyingresearch and connections.


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T u ng n unnng w y n n un

h . T un wh h n n h u wh w

n n y, wh w n n x (y ),

g u . y y, h u n un w

u /h, nn n, gy, h nng gu-

n h h wu h n .

In n nng u h u n hngy n

h wk un, Jnh n I n h h w h h

unn n h hn. W wh h u w u-ng

x b, n h g w w wh nugng k u

h . Wh h w xng n nugng u, h Synh

quy u wy n nggn wh hgy.

F hn nn, ng w wh h Synh wu

hngng, u n . Af ng n n n

n nng h gn h y, I u h h n u-

n n-u, C Cn-n n . T

n h wu u unn n-n y ng y

wh -n nn. T gn gu wu x h

u xn n u g n u h n hw h

gh wk.

Rg h hn hu h g whh Synh

y n h wy w nn, h y y

n ny wy. I h u h h Jnh n I n wy

h n x, g wk n n h I ugh Enu

Cg. Ou wk n Synh, u y h wy w gn u h nn-

n ewee h nnn, h n h wy I h nng n

xn. In nn wh h u, h h w n n-

gng h x h n wh nhu gn n n.

Wh Synh hy n un y n ggng,

nng w nun h u. In, yz n x-n n y n y un, u n h n, nnu un

. W hu h u, u. I n ( hun)

h I unn u, uy nw, n w -nng

nn. In , h ng uh h u dj wu n, .

See Chapter 9 for more aboutthe Manipulative Media Project.


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or s cite d

D, P E., n D Hk. Cnu T Funn

h U hngy n S Su. Tey a Reeah Sal Eua 31.1

(2003): 72-104. W.

Mh, Wyn. Fw M Nw: T Zgzggng Zunguzung M. Waye &

Wax. N.., 10 My 2007. W. 12 O. 2012. .


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Data Deluge, Always on, and a Giving-Over of Power

08

Data Deluge, Always on,and a Giving-Over of Power


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Towards a DJ Methodology of Learning92 wards a D gy of Lea

My Facebook feed.


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[S]omewhere in my enthusiasm for the

latest generation of electronic tools, I had

gotten the old saw about knowledge and

power turned around in my head: I was

thinking that information was power.

I now regard this as one of the great

seductive myths of our time and do not

feel so silly about falling prey to it; I think

it happens to people all the time.

David Shenk, Data Smog: Surviving

the Information Glut, 1997(!)


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Cun n u h y djng , n h n

ng nyhng wh ny u h I u gn y.

Hw, y u h wn n h wn h z y

k n h y . My h-h w y ynh n h

f, quh qun ng. In h

wn hnng nuy, y uny- n-

h I y ngn wh w n nhn hk y h-h

un. My u h hng h h n ny ng y

n (y n). I hugh I w wh wh y, h

I w wh wh . My n un y h, n nn nu

y ng. I h , n , ng

, k n, n hn I h

. I w xng. A n y, hng w .

Shng n n w hnng y n hy un, h n

wh w h y g nng y nw h . H un,

digital natives y u- , u n ny n-

n hy wn u u . Ty h nn un,

un u n h h, w, n hy k. Y ny un

w ng h y y nhz u n x h ynh h ugh -

, gu h n.

In Te Shallw, Nh C gu h u nunn wh nn h

hf h wy n whh w nu . N ny h u nnn n u ngg n nun gun ngng x-

n, u h gun unn y u n. W u y, n

nngy , h n gu uzz nn u n n-

ng nn. B n n n, nw, h n n

h, C gu h w y nn n h nn, n h

w nng u y u n x gn n (C, 220). In n

u ung n k h qu ng un nggn (Rh),

h n, n u n y y wh , h hng u

nyz n ynhz nn.

T ug , u, n h n h n u k. W

y h ug wh u . I u k, x g u, n

u u h u u h u n w ngh h . A u

unu y h n hk n nwk

See Chapter 7 for more on theSynthesis project.

Digital natives are studentswho have grown up with technol-ogy; they are native speakersof the language of computers,videogames and the internet(Prensky).


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wh -nng quny, u unn ng h w un u n

y h nw. W wy n, wy nn (uk, 151). W n w

nn un ungwhh n u k u nwk. I

u x n h y nw-n. W n k n

nh g u y w n, - xn (uk, 175 179),

kng h n n Fk unn hw w hu u

h un h w h u h . W nny kng u n

n h n n ny ng k u, yng h -

n h k u hng , h w u n u w.

Muh k u u, h nw-n qun (g, ng,

g, n nz ng) n k h k un y

(hk k n fw) wy n hnk u

nng. W u y k hy yn h nw, h n nwh w n y unn nyz uny h n. A w

Fk n k unn, u nng

y hn un nn uny n

wy h n ny y n n. T nn w u, hn, gn

h wy . Ohng n y, hashtag, ng w

h n unn. Dung h h- , Ky Py,

Luk ON Ve gzn, ng h hy-ny, w:

O u n hu h nng n n , y w unwy,

h h u nn y. I n hhg , u g , gg n k n g h nx, n nnguu -

gk n un ng u zu-nung g n h nn

u n w y n g w y n

whn h ng y . I n n u , h y

h -y. My I u hnk n nn. Oh y g, h h.

Luk ON, n W hy Ky P y u nw F u-W R

ON n y n M. Py n u h wn g-

nn. H meme-style n, hw, y y. I n h nn-

n h unny n y h hynk, h hhg, n u-

n-y. I n y n h ug hugh whh

w nw ng n u Phn, u u un, n u nx.

Memes refer to those things

on the internet that, over time,become referenced, parodied,remixed, and linked so muchas to become, momentarily,a part of the popular internetconsciousness

A hashtag is a word or phrasepreceded by the # sign. It isa form of metadata tagging andis commonly used on socialmedia sites.


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T nzy n whh w nw hwn, whh w u un

, nyz, ynhz n u wn, h n h g g aa. N

ny w nung nn h n w h , u w

u nn hn w h . An xnn n n h -

n u h wn nu nyzng n unn-

ng . ibm n h unn n ng un h nw n. T

g n h fw u: Ey y, w 2.5 qun n

y uh h 90% h n h w y h n n h

w y n. T ywh: n u gh

nn, , g u n , uh n-

n , n hn ps gn n w. T g aa.

I unng, hy u. Yu, hun, n yu wn, whu wu u-

n n fw, n unnng, nyng gng hn h ungny g quny nn. Ou , , n

ny y n hngy, g u w ynh n ny

gh.

S h, wh unnng n ng n h n n

h , k u un nyz . In n Hava

Bue Revew, , Bg D n h Nw O , J T, - -n-

n hNew Yk e n uz xn, gu h u

uy hn h w g , w n -ng n hun nx .

F h ng hn, n unn n xn wn-h, ngg n n un u n h, n n w n

h u (.g., ) (T).

T wy n whh u -n n un h h h (uny n--

hun) nx u g yn wh w gh g n

hn T --n w ky . Nh C

gu: Whn w k u n u y Azn N x, w

wng T n ngnu n xny uu u

hy hnz h y nu xn n n -

hn (218). C ng h y k nn nng-u . W nw w u u. N y h g , u

y , n h gh n, w, hun.


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T n (n qu x) gy n h gn h h ibm

h h ny n- g . T gy , ,

n unn ibm ny n fw n, uh h

y n w h: un w k yu. Cu-

n w k yu . ibm yu h yu w n xu,

k ng , n u yu w h h w n g ,

hnng xy. T gy, h h n un, n h wy n

whh h u u g u w, h ynh

n ny, ny un xn h n u h ibm

g fw.

or s cite d

C, Nh G. he Shallw: Wha he Iee I Dg Ou Ba. Nw Yk:W.W. Nn, 2010. Pn .

ON, Luk. K y Py I Ou Nw F u-W R. VICE. N..,

My 2012. W. 1 F. 2013.

.

Pnky, M. Dg n, g gn 1. O he Hz 9.5 (2001): 1-6.

Rh, M. Gwng U Dg, W Dn. New Yk e. N.., 21

N. 2010. W. 12 D. 2012.

Shnk, D. D Sg: Sung h Inn Gu. E.New Yk e

Bk . Nw Yk , Juy 97. W. 1 F. 2013.

.

T, J. Bg D I N h Nw O. Hava Bue Revew. N.., 30 N. 2012.

W. 01 D. 2012.

.

uk, Shy.Ale gehe: Why We Exe Me ehlgy a Le Eah

Ohe. Nw Yk: B, 2011. P n.

Wh I Bg D? - Bngng Bg D h En. ibm . N.., n.. W. 1 F. 2013.

.


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Case Study: Teaching

09

Case Study: Teaching


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Towards a DJ Methodology of Learning