ALTC 2022 – Reconnecting

Earlier this month the annual ALT Conference returned as an in-person event for the first time since the pandemic.  Around 400 participants joined the hybrid conference at the University of Manchester, for both an in-person and online programme.  For many delegates it was their first in-person conference since the Before Times and I think it’s fair to say that everyone appreciated the opportunity to reconnect with friends and colleagues from across the sector. 

I had the pleasure of being one of the co-chairs of the conference, as to mark its in-person return, the event was was chaired collaboratively by the Trustees of ALT.  My term on the ALT Board came to an end at the AGM, so I’m proud to say that opening ALTC 2022 with a short reflection, alongside Natalie Lafferty and Puiyin Wong, was one of my last actions as an ALT Trustee. 

Natalie emphasised the need for learning technologists to become a collective voice that shapes the narrative and the future of learning and teaching.  Asking how we can consolidate the relationships we’ve developed with academics during the pandemic, Natalie urged us to be confident in our own role working at the intersection of academic and professional services.

Puiyin reflected on her own journey as a learning technologist over the last few years.  As a result of the pandemic, colleagues finally know who learning technologists are and what we do. We’re not just the people who fix Moodle, we understand pedagogy, we understand learning, we understand how to use technology in education, and how to make  learning engaging, accessible and fun.  Puiyin also urged us to welcome more TEL researchers into the community to share our knowledge and expertise.     

I touched on the ebook crisis and the increase in institutions establishing open textbook presses in response.  I hope that our libraries and open presses will draw on the OER expertise that already exists in the learning technology community to build on our knowledge of openness in education. I also emphasised the necessity of ethically informed approaches to how we implement and interact with learning technology and the importance of pedagogies of care, which are increasingly necessary during these uncertain times.  

Although openness wasn’t one of the specific themes of the conference, it remains one of ALT’s core values, and openness underpinned many of the sessions.  The Global OER Graduate Network presented an overview of their community values and research activities, and I also really appreciated Fereshte Goshtasbpour and Beck Pitt sharing their experience of re-purposing an existing open course for reuse in a different global context. Reuse and repurposing of existing OERs is something that we’re really interested in at Edinburgh, so it was useful to hear this case study. 

Ethics and care were two themes that also ran throughout the conference. Rob Farrow’s keynote presented a short overview of ethics in Western philosophy and highlighted the need for ethical frameworks for technology, such as the ALT Ethical Framework, and the space they offer for reflective collaborative thinking  Rob also picked up on the theme of ethics of care, which was explored by Chris Rowell in his talk on critical digital pedagogy.  Chris outlined six principles for critical digital pedagogy, all of which really spoke to me:

  1. Knowledge should be co-created between teachers and students.
  2. Digital education should challenge oppression.
  3. Digital education is a human process.
  4. Education and technology is inherently political.
  5. Knowledge should relate to and develop from the lived experience of teachers and students.
  6. Digital education is built on trust and belonging and should cultivate hope and optimism.

One beautiful manifestation of all these principles is the Femedtech Quilt of Care and Justice in Open Education, a craft activism project led by Frances Bell in collaboration with members of the FemEdTech network in 2019/2020.  You can read the story of the quilt on femedtech.net and also engage with the digital quilt at quilt.femedtech.net  The quilt was originally intended to be displayed at the OER20 conference, but as a result of the pandemic this is the first opportunity we have had to showcase the quilt in all its material glory

I spent most of the second day of the conference quilt sitting along with Frances Bell, Catherine Cronin and Sheila MacNeill. It was a really moving experience seeing people interacting with the quilt.  It was especially lovely to see people finding and reconnecting with squares they had created, pointing out this or that square – “That’s my daughter’s dress!” “That’s my mother’s earing!”  So many women, mothers, daughters, grandmothers, so many personal connections are sewn into the quilt. There was also an opportunity for people to contribute to the quilt by sewing on a button or a few stitches of embroidery and it was wonderful seeing people taking a quiet moment out of the busy conference schedule and becoming absorbed in the shared task of making. 

Sheila has already written a lovely reflection on the quilt here: Transcending the digital and physical at #altc22 – the #femedtechquilt. I particularly love this observation:

In quite a magical way, the presence of the quilt provided a way to bind many of us together by providing a safe, open, space to have long overdue catch ups, to share experiences and allow time for reflection and just “being”.

At the end of the day, those of us who had contributed to the quilt came together to suspend it over the balcony outside the main auditorium so it could be viewed by delegates.  It was an emotional (and slightly nerve wracking!) experience holding all that shared hope and creativity in our hands. 

We’re still living in desperately uncertain and insecure times, and our new normal is a world away from our old normal, however reconnecting with the learning technology community at ALTC 2022 gives me hope that if we can work together, to share our experiences and share the load, we can support and care for both our community and our learners.

The FemEdTech Quilt of Care and Justice in Open Education

This short history of the FemEdTech Quilt formed part of a post on femedtech.net.

The FemEdTech Quilt of Care and Justice in Open Education was a craft activism project led by Frances Bell in collaboration with members of the FemEdTech network in 2019/2020. FemEdTech is a reflexive, emergent network of people learning, practising and researching in educational technology, and committed to feminism and social justice. We are an informal organisation with no funding: our resources are our passion, kindness, knowledge, enthusiasm and volunteer time.

Ideas for a FemEdTech Quilt emerged following the 2019 OER Conference (OER19) and took further inspiration from the themes of OER20: The Care in Openness, particularly around care, criticality and sustainability. An open call was issued along with the OER20 Conference call for proposals, inviting all sewists and non-sewists, artists and dabblers, crafters, makers and writers, to contribute to the quilt by donating fabrics and found objects, creating quilt squares, and/or writing stories and reflections.

The project was originally intended to have three parts:

  • The preparation and assembly of a quilt linking themes of social justice and open education, making a contribution to activism in these areas.
  • The creation of a digital archive of the elements, components and finished quilt that becomes a shareable artefact and repository in its own right.
  • The completion of the quilt at a workshop at the OER20 conference, where it would be displayed in its material and digital forms.

There was an overwhelming response to the invitation to contribute to the quilt, with 67 six-inch and 17 twelve-inch squares being sent in from around the world, along with fabrics and other artefacts. As contributions arrived, the quilt grew in size from a single artefact to four linked quilts, each assembled by Frances Bell, Suzanne Hardy, and a group of volunteer quilters and sewers in Macclesfield, UK.

A corresponding digital quilt was created by Anne-Marie Scott at https://quilt.femedtech.net/. This enabled contributors to reflect on the process of creating their quilt squares and to tell the stories behind them. The digital quilt was also intended to allow those who were unable to attend the OER20 Conference in person to see and explore the quilt and its stories.

In the optimistic days of early 2020, when beautiful creative quilt squares were being sent in from all over the world, we could not have foreseen the advent of the global pandemic and the impact it would have. At the same time, we could not have imagined just how necessary the FemEdTech Quilt would become as a project of hope in those dark days as the threads of our shared labour wove the FemEdTech community together.

With the advent of the pandemic, the theme of OER20, The Care in Openness, could not have been more timely or prescient. ALT rapidly moved the conference online and lifted the registration fee, enabling over 1000 participants to come together from all over the globe. Although the pandemic initially deprived us of the opportunity to experience the physical artefact of the quilt, it became a powerful material manifestation of care, compassion and activism. Frances produced and presented a beautiful film about the making of quilt for OER20, which resulted in an upswell of collective emotion that, like the quilt itself, was “beautifully imperfect, imperfectly beautiful.” In the words of Su-Ming Khoo, the quilt became “somewhere to put our connection and our gratitude”.

The FemEdTech Quilt of Care and Justice continues to stand as a powerful symbol of the strength and solidarity that can be gained from shared labour, the sense of community and belonging that traditionally derives from women’s work, and the power of craft activism.

OER20: Care, hope and activism

CC BY, Bryan Mather

The OER Conference is always one of the highlights of the year for me.   It’s the only open education conference I attend regularly and I’m privileged to have been present at every single one since the conference launched at the University of Cambridge back in 2010.  So needless to say, I was gutted that the f2f element of this year’s conference had to be cancelled, despite knowing that it was unquestionably the right thing to do.  I know from experience how much work and personal investment goes into planning the OER Conference and what a difficult decision it must have been for ALT and for co-chairs Mia Zamora, Daniel Villar-Onrubia and Jonathan Shaw.  That initial feeling of loss was tempered by ALTs announcement that they would be moving the event online, an ambitious plan, given that the conference was barely two weeks away.  I was always confident that ALT could pull off this #pivot as they already have a wealth of experience facilitating online conferences, through the annual winter online conference, and as an already distributed organisation they didn’t have to cope with the scramble to set up remote working that may other organisations and institutions faced.  What I didn’t expect though was for ALT and the conference co-chairs to deliver an entirely unique event.  They didn’t just move the planned face to face conference online they completely transformed it into a new, original and completely free online experience that welcomed over 1,000 registered participation from across the globe.  And please note, the OER20 conference wasn’t just free as in speech, it was also free as in beer, so if you participated in the event, either listening in to the presentations, or even just following the hashtag online, please consider making a donation to the conference fund.  Every little helps to support ALT and cover the cost.

Of course the theme of the conference, The Care in Openness, could not have been more timely or more prescient.  The whole notion of care has taken on new weight since the outbreak of the Covid pandemic.  Care has literally become a matter of survival.  The only way we will get through this is if we care for each other, and if we protect and value those that care for us.  

If I was to pick two session that for me, really embodied this ethic of care it would have to be keynote sava saheli singh and Mia Zamora in conversation, and Frances Bell talking about the femedtech quilt project.  Both sessions featured films that provoked a really strong, but very different, emotional response.  Screening Surveillance’s Frames is a deeply unsettling tale of surveillance, commodification, dehumanisation and alienation.  Powerful, challenging and disturbing, watching Frames is a profoundly uncomfortable and thought provoking experience. The subsequent discussion brought to mind Jimmy Reid’s immortal address on becoming rector of the University of Glasgow in 1972; Alienation

“Society and its prevailing sense of values leads to another form of alienation. It alienates some from humanity. It partially de-humanises people, makes them insensitive, ruthless in their handling of fellow human being, self-centred and grasping.”

This quote particularly resonates with me.  So much has changed in the 50 years since Reid’s address, but so much remains the same. It is the system of capitalism that is still so often the root cause of our dehumanisation and alienation. Industrialisation may have given way to surveillance capitalism, but digital technology is simply the latest mechanism for our alienation. 

sava ended her brilliant keynote session with a much needed call for compassion and action:

“We need to approach everyone with compassion…All of us are activists now.”

It was a huge privilege to hear sava and Mia in conversation, and my only regret is that I haven’t yet had the opportunity to meet them in person. I hope that will happen one day.

Nowhere is that compassion and activism more visible than in the making of the femedtech quilt, a craft activism project and a material manifestation of care led by the indefatigable Frances Bell.  Frances produced this beautiful film about the making of quilt and it’s safe to say that there wasn’t a dry eye in the house after watching it.   Like the quilt itself, the up-swell of collective emotion was “beautifully imperfect, imperfectly beautiful.”


 

I find it hard to put my profound appreciation for this project into words, but Su-Ming Khoo spoke for many of us when she thanked Frances for giving us all “somewhere to put our connection and our gratitude”.

My other highlights of the conference included….

The launch of the University of Edinburgh and Wikimedia UK’s Wikimedia in Education handbook.  Edited by Wikimedian in Residence, Ewan McAndrew, this free, open licensed booklet brings together 14 case studies from educators across the UK who are already integrating Wikimedia assignments in their courses and classes.   I know how much work has gone into the production of this booklet so it was great to see it being launched. I’m sure it will be an invaluable  and inspirational resource that will encourage educators to see the huge potential of integrating Wikmedia projects in education.

Staying with the Wikimedians, Wikimedia UK’s Scotland Programmes Coordinator Sara Thomas gave an impassioned talk on Wikimedia and Activism.  I love listening to Sara present, she always makes me want to storm the barricades! Sara reminded us that learning and creating open knowledge are always political acts. Creating knowledge encourages agency, but access to information alone does not result in enlightenment. Knowledge is nothing without literacy and information literacy is crucial for participatory democracy.

I also really enjoyed Bonnie Stewart and Dave White’s thoughtful and compassionate session on Designing for Systems of Care: Can Open Pedagogy Scale Caring? Dave spoke about the dangerous grey area between surveillance and care, and argued that personalised, individualised learning is actually reducing our agency, our self-direction and self-determination. We’re at a point where the tech sector appears to be telling us “we’ll care for you and personalise your experience, if you tell us everything about you.” But we can’t use technology to lock everything down, we need to create a culture of trust now more so than ever.

I made one very small contribution to the conference this year, a short alt-format talk on open practice and invisible labour, which you can read here and listen to here.  Sadly this talk became all the more relevant with news reports yesterday afternoon that hundreds of university staff on precarious contracts have been made redundant by the universities of Bristol, Newcastle and Sussex.  As my colleague Melissa Highton succinctly put it “This is why we strike.

There is always a strong social element to OER conferences and there was a risk that this would be lost with the move online.  However the conference team excelled themselves and, if anything, this was one of the most social and inclusive conferences I’ve participated in, ether on or off-line.  The social bingo was hugely popular and a great use of Alan Levine’s fabulous TRU Collector SPLOT. (If you enjoyed playing OER social bingo, you might like to support Alan’s work by contributing to his Patreon.)  The KarOERke was also priceless.  Anyone who knows me will know that karaoke is my idea of HELL. I can barely even bring myself to watch it, never mind participate!  However, I had great fun dipping in and out of the online KarOERke on ds106.tv.  My only regret is that I missed Lucy Crompton-Reid singing Kate Bush.  The final rousing chorus from Les Mis was something to behold though.  Y’all are daft as brushes.

Perhaps the most striking thing about the OER20 though was that none of the emotion and connection that is so characteristic of the OER conferences was lost. If anything, this was heightened by the #unprecedented global situation we find ourselves living through.  Suddenly these tenuous temporal connections we made with colleagues from all over the world during the two days of the conference, felt more important than ever before.  A valuable lifeline, and a network of care, hope and activism that connected us all at a time of uncertainty and isolation. Ultimately these are the things that matter and these are the things that will see us through.

Sharing the Labour of Care

This article was originally posted on WonkHE under the title We need to recognise where the burden of care falls in higher education.


Most of us work in higher education because we care; we care about our students, our colleagues, our subject specialisms, we care about learning, and we care about sharing knowledge.  Many of us even care about our institutions, even if that care is increasingly unreciprocated.  Our profession is distinguished by emotional commitment, compassion, and a strong ethic of care, but this burden of care is unevenly distributed across the academy.  This critical and largely invisible labour routinely falls to those who are already marginalised in the system; women, people of colour, early career researchers, those employed on precarious and part time contracts, those on lower pay grades.  Caring has always been regarded as women’s work, and as a result, the labour of caring is habitually devalued and taken for granted.  There is an assumption that caring is low skilled work, that anyone can do it, but of course that is far from true.  Despite the toll taken by the exploitation of this invisible labour, we all continue to do our best, to go the extra mile, to pick up the pieces for our students and our colleagues, which inevitably leads to stress, anxiety and burnout. In a timely twitter thread about the current round of UCU strikes, Máiréad Enright pointed out that

“There is emotional labour involved in knowing and being reminded that others will have to face the everyday crisis, because you aren’t there. It’s important that we recognise that this emotional labour is part of what’s distinctive about the neoliberal university. We govern ourselves and each other through emotion. Disunity, competition and compulsory individualism in the university ensure that.”

The reason many of us are striking, to protest universities’ failure to protect our pensions, and adequately address the gender pay gap, unrealistic workloads, and increasing casualisation, is not because we don’t care about our students and those who rely on our emotional labour, it’s because we care too much. And I am fully aware of the irony that I am writing this article while allegedly on strike. Withdrawing our emotional labour is a hard thing to do.

As with many other aspects of our employment and our practice, much of this burden of emotional labour has become mediated through and exacerbated by technology.  Whether it’s spending weekends answering e-mails from distraught students, peer reviewing journal papers and conference submissions, writing blog posts, taking part in twitter conversations, contributing to hashtags, writing Wikipedia articles, or keeping up with social media.  In a provocation recorded as part of Open Education Week, Leo Havemann argues that there is a lack of appreciation for the kind of labour and expertise involved in digital practice.  All too often digital labour is unrecognised and unrewarded invisible labour.  Of course there is a gendered aspect to digital labour in higher education too, which is largely unacknowledged and under researched. A notable exception is research undertaken by the Association for Learning Technology to analyse the results of their sector wide ALT Annual Survey through the lense of gender.  ALT’s research has provided some evidence of different priorities for men and women particularly with regard to dedicated time and recognition for career development.

While much of our invisible labour may be undervalued by our institutions, grass roots initiatives have sprung up to acknowledge, celebrate and support the contribution our digital and emotional labour makes to education.  One such initiative is femedtech, a reflexive emergent network of people learning, researching and practising in educational technology. The femedtech network is informal, unfunded, and cross sector and our resources are our passion, kindness, knowledge, enthusiasm and volunteer commitment. Our name, femedtech (feminist education technology), aligns us with a critical perspective on education and technology. We are alive to the specific ways that technology and education are gendered, and to how injustices and inequalities play out in these spaces.

Despite the burden of care that we carry, there is strength and solidarity to be gained from shared labour and a sense of community and belonging that traditionally derives from women’s work.  Nowhere is this more apparent than in the femedtech Quilt for Care and Justice in Open Education project.  Created by Frances Bell in collaboration with members of the femedtech network, this craft activism project takes its inspiration from the themes of the 2020 OER Conference; The Care in Openness.  Women and men, from all over world have contributed quilt squares representing personal reflections on care, openness and social justice. You can find out more about the femedtech quilt project here https://quilt.femedtech.net/

#femedtch quilt, CC BY, Lorna M. Campbell

References

Association for Learning Technology, https://www.alt.ac.uk/

Enright, M., (2020), #UCUstrikes twitter thread, https://twitter.com/maireadenright/status/1234456632681168896?s=20

Femedtech, http://femedtech.net/

Femedtech Quilt for Care and Justice in Open Education, https://quilt.femedtech.net/

Havemann, L., (2020), The need for supportive policy environments, https://flipgrid.com/f61bc14c

Hawksey, M., (2019), #ThinkUHI #BalanceforBetter look at enablers/drivers for the use of Learning Technology (#femedtech), https://mashe.hawksey.info/2019/03/balanceforbetter-look-at-enablers-drivers-for-the-use-of-learning-technology-femedtech/

OER20 Conference: The Care in Openness, https://oer20.oerconf.org/

University and College Union HE Action, https://www.ucu.org.uk/heaction

Threads That Connect Us

In my post about my Open World femedtech quilt square I explained why I chose to make my square out of Harris Tweed, a protected fabric that is only made in the Outer Hebrides where I was born and brought up. In many ways the fabric is emblematic of both the islands and the islanders; the wool is shorn from the local black face sheep, the colours, traditionally from natural dyes, reflect the colours of the landscape, and the cloth is woven by hand to produce a fabric that is unique, beautiful and hard wearing.  As with many traditional fabrics, tweed production was originally a communal activity, and much of the work was undertaken by women; from dyeing and spinning the wool, to weaving the tweed, to waulking and finishing the cloth.  Waulking involved soaking and beating the tweed to remove dirt and impurities, and soften and shrink the cloth. Before tweed mills were built in the islands to process the hand-woven cloth, finishing a tweed was a social activity as much as a collective task.

This following account of the importance of waulking as a women’s social activity, comes from a Gaelic radio programme called Tigh Mo Sheanair (My Grandfather’s House) which was recorded in the early 1970s and the speaker is my grandmother, Anne Campbell, who was born in 1909 and lived in Harris all her life.  Her words were translated from the Gaelic by her daughter, my aunt.

Anne Campbell & Sybil McInnes

“The entertainment whilst waulking the tweed was better than a wedding, for us anyway when we were young, especially if the waulking took place in the evening.  If the waulking was in the morning we had to come home afterwards and stay in in the evening.  Waulking was sometimes our only entertainment.  We were always delighted when we got news that someone in the village was about to complete a tweed.  In those days it was the women who wove the tweed on the “little loom”.  A tweed would take three weeks to complete – today a tweed is completed in one day using an automatic loom.

To waulk the tweed a long table was set out with seating for four women on each side.  There was a tub at either end of the table. The tweed was cut into two pieces and a piece dropped in each tub.  One side worked left the right and the other right to left.

For a bit of fun the loose coloured threads at the end of the tweed were cut and each woman would put her thread outside the door. If your thread was the first one then the first man who came to the house had to see you home that evening.  It did not matter if you had a steady boyfriend, it was who ever found your thread that had to take you home.  There was often good-natured bantering outside the house especially if your own boyfriend turned up expecting to walk you home. We didn’t think anything of being up all night if there was a waulking.”

Although my granny wasn’t a weaver, she did spin and dye her own wool, which she used to knit socks, jerseys and other garments.  When I was a child, there was a huge cast iron cauldron wedged in the rocks outside the house, which had been used for dying wool before modern conveniences came along.  The remains are still there today.

This communal aspect of fabric production, sewing, embroidering, and quilting has always been important.  It provides women with a space where, to some extent, they are in control of their own labour. A space where they can come together to share their skill, pass on their craft, tell their stories, and enjoy each other’s company.  These spaces sometimes seem to stand outside the strictures and expectations of “normal” society, and provide women with a space where they set their own rules.   To my mind this has been the most powerful aspect of the femedtech quilt project, which has given so many women from all over the world, a space to collaborate, to share their skills, their stories, their inspiration and their creativity.

I’m writing this post with Frances and Suzanne in mind who will be coming together this weekend to sew the femedtechquilt, and although all those of us who sent in squares won’t be able to join them in person, I hope they’ll feel the strength of the threads that bind this amazing community together.

Open World for #femedtechquilt

At the end of last week I sent off my contributions for the #femedtechquilt project, and I’m not going to lie, it was hard to part with them.  As soon as Frances Bell raised the idea for this amazing project I knew that I wanted to make something out of Harris Tweed, a protected, handmade fabric that is only made in the Outer Hebrides where I’m from, and which is woven into the identity of both the islands and the islanders.  I decided to try and make a representation of the header image of this blog, not only because Open World is where I share my open practice, but also because that header image is my own picture of one of my favourite places in the whole world, Traigh na Berie beach in Uig, on the west coast of the Isle of Lewis.  I’ve visited this beach almost every year of my life since I was a small child, I did my higher geography project on the flora of the beach, my Masters dissertation was on the anthropomorphic landforms of the surrounding area, I worked on archaeological excavations there, and I use another picture of the beach as my twitter header.  I’ve also returned there frequently with my own daughter.  It’s a place that I have a deep attachment to, which has always inspired me, and still does.

I already had some beautiful left-over tweed from a length I bought to make curtains for our VW camper van, and I bought a bundle of off-cuts when I was home in Stornoway in the summer.  It wasn’t difficult to make a rough representation of the beach, as the colours of the tweed naturally echo the colours of the Hebridean landscape.  Sewing it was more of a challenge.  My mother taught me to sew when I was a kid, but it’s not something I do regularly, other than altering clothes.  In order to sew my square, I had to get my mother’s sewing machine, which I inherited when she passed away a few years ago, repaired and reconditioned.  Using it seemed fitting, as she was a talented seamstress who used that machine to make beautiful tweed coats and jackets for my sister and I when we were young.  I was really pleased with the way the square turned out, it looked much better than I could have hoped.  One thing that really surprised me when I was making the square was just how evocative the smell of pressed tweed is. It immediately took me right back to the islands and my childhood. For me, this square represents hope, inspiration, and the unbreakable threads that connect us to the people and places we hold dear.

Tweed on the machair

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My other square was much more low effort, but it still has meaning to me. It’s a tracing of the Open Scotland logo drawn in fabric pen on cotton cut from one of my daughter’s old school shirts, and it represents the hope that one day all publicly funded educational resources in Scotland will be freely and openly available to all.   Open Scotland was an initiative that I founded, along with Joe Wilson, Sheila MacNeil, Phil Barker and others, back in 2013 and I’ve poured a lot of time energy and commitment into it, so I wanted to commemorate it in the quilt.  I also love the idea that my daughter has made a small contribution to the quilt too.

Tracing the logo

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