The open course #rhizo15 started last week and the task of the first week is
Build learning subjectives: How do we design our own or others’ learning when we don’t know where we are going? How does that free us up? What can we get done with subjectives that can’t be done with objectives?
I am always doing that which I cannot do, in order that I may learn how to do it.
Quoting Picasso serves as a springboard for my post. Otherwise I might not dare to start, being confused and late .
How to design our own or others learning when we don’t know where we are going… this is challenging! In many countries around the world the uncertainty of it all (the future and what it will expect form us) seems to result in more and more detailed and (easily) measurable learning objectives. In this contradictional context the idea of learning subjective might be the best to focus on, but does it mean that we have to manipulate the curriculum to make room for authenticity and the unpredictable among the learing objectives? Designing learning in this context takes creative thinking. So please help me think!
Given I am a subject of learning AND at the same time a learner, a strategy that will free me up now is to take part in #rhizo15, and I guess it will make me a co-subjective(?). Learning about my learning and others’ learning is my subjective, I guess. Or? I will follow the course but will probably not be the most active one due to this time of year being even more intense than the rest. In #rhizo14 I started out fresh, but lost track mid-course. I will try and hang on this time, doing the best I can. Having something to challenge my learning to support procrastination – I should grade National tests – is tempting and may support the learning subjective.
I ponder over what we can get done with subjective that can’t be done with objectives. I read Sarah Honeychurch’s blog on learning to play the uke in private and I wonder if it can be said to be in private, and I don’t count the cat. Does private mean that you do not communicate with others when you learn? If so, the video with Alistair Hulette, and other ukulele models (why not check this if you like The Beatles ) is something else than communication. Or can we deal with music the way we do with intertextuality in literature? If my thoughts can be changed by a novel that resonates with meaning or my emotions can be altered by a poem, why not see music as collaborative in itself? Thank you Sarah for giving me something to think of!