[Update – Jan 28, 2015: The complete essay has now been posted.] This brief essay surveys existing research related to time and learning through educational technologies.
“In 1888, police reporter Jacob Riis used the medium to record New York City’s crime-ridden and impoverished slums. His photographs coalesced public opinion and led to greater enforcement of existing laws and the creation of new building codes and apartment regulations. Sociologist Lewis Hine’s photographs of underage workers helped inspire the first federally sanctioned child labor laws in 1916 (Collier and Collier 1986). … Ordinary citizens use digital photographs to record extraordinary sights, such as the catalytic images disseminated during the ‘Arab Spring’ (Howard and Hussain 2011).” (p 45)
“A focus on cognition within particular ecological niches reveals both how displays of knowledge are situated and the multiple dimensions of learning that go beyond the cognitive structure of domains of knowledge. … These attributions that influence our emotional responses are influenced by the history of our participation in prior cultural practices through experiences in families (including daily routines), peer and other social networks, and institutional practices such as schooling, religion, and macro-level belief systems …” (p 240)
“… there are no indications in these early letters that he [Boas] directed Hunt’s photography. Apparently it was Hunt’s idea to get a camera, and all his early use of it seems to be at his own initiative.” (p 144)
“The criticisms of the eye-camera analogy, the status of illusions in psychological experiments, the consideration of the organism in its environment, and criticisms of the argument from illusion all point to a new theory of perception. In this ecological approach to perception the emphasis moves to investigating the kinds of information available to the moving, actively engaged perceiver: perception not based on a fixed punctuate image.” (p 24)
“The man in Western dress can be understood as desiring social change, material progress, and Westernization in other spheres. Exotic dress can stand for a premodern attitude, Western dress for a forward-looking Western orientation.” (p 93)
“There are of course alternative views, but the history of visual anthropology suggests that most anthropologists have never known quite what to do with the visual. … Words, on the other hand, have little more to say once you have written them.” (p 283)
“It is equally telling, about how media actively shape perceptions about confrontation and conflict between Canada and aboriginal peoples.” (¶ 9)
“If I were just curious, it would be very hard to say to someone, ‘I want to come to your house and have you talk to me and tell me the story of your life.’ I mean people are going to say, ‘You’re crazy.’ Plus they’re going to keep mighty guarded. But the camera is a kind of license. A lot of people, they want to be paid that much attention and that’s a reasonable kind of attention to be paid. — Diane Arbus” (p 149)
“Our artistic work is created around an obstacle course of colonial misunderstandings, cultural protocol, ethical concerns, community lateral violence and funding categories which sometimes attempt to determine the ‘Aboriginalness’ of the work.” (p 128)
![Untitled, [Children on Couch with East 100th Street Out the Window], from East 100th Street series; Bruce Davidson; 1967–68](https://kinasevych.ca/wp/wp-content/uploads/2015/02/davidson_009-300x221.jpg)