Skip to main content

A Critique of A Hero: Sir Ken Robinson


Sir Ken Robinson’s TED talk: How schools kill creativity

https://www.ted.com/talks/ken_robinson_says_schools_kill_creativity#t-185891


Transcript

https://www.ted.com/talks/ken_robinson_says_schools_kill_creativity/transcript?language=en


Assessment criteria: As part of authoring critiques of digital storytelling in INTE 5340 three criterions are selected from Jason Ohler’s assessment traits.



Voice, creativity, originality (Score 1-10: 10 Points)

Tone is appropriate, pacing is good, intonation, inflection, diction, overall quality of speech. Use of anecdotes, humor, and personal experiential knowledge.

Comments:
Sir Ken Robinson is always a pleasure to listen to. His humor, his tone, and relatable anecdotes instantly grab the audience. The use of humor followed by critical story points gives the audience a chance to recall the information because of the recollection of a humorous story. The expression of creativity in his stories paints an authentic picture of the topic at hand.

Story clear, articulated, compelling (Score 1-10: 10 Points)

Personal expression, engaging, descriptive, persuasive.

Comments:
Ken provides several examples of creativity in children and how society and educational systems suppress it. He uses personal anecdotes to describe instances of creativity with humor. The audience is compelled to rethink the value of creativity and different types of thinkers.

Research? Research clear, thorough, integrated (rather than listed)? (Score 1-10: 5 Points)

Use of visual aids, statistics, multiple sources, seamless transition from story to statistical information.

Comments:
Although most of the lecture was anecdotal and humorous a few statistics were given in the speech. However no visual aid was used. A lack of multiple sources and visual aid is not as convincing.

Total Score 25/30


Other characteristics this assessment fails to capture:

It is difficult to consume and “critique” digital stories to some degree because the author of the work isn’t necessarily aware of assessment criteria and thus to some degree the assessment isn’t fair. Also some works of digital storytelling have other constraints (such as a short time limit for a TED talk). It’s worth mentioning Sir Ken Robinson is a prolific author and thought leader on the issue of creativity in the educational system. It would be assumed as an audience that Ken is an expert on the subject and statistics and visual aids may not be entirely necessary given his status and knowledge. The audience should be interested and persuaded to learn more about the topic by reading Ken’s books.


How could this digital story be improved?

The wealth of personal anecdotal information that Ken shares is incredibly engaging. However, the use of media to present visual aids or demonstrations would be more convincing and persuasive. There is an animation created by the RSA as a visual narrative to one of Ken Robinson’s TED talks “Changing education paradigms.” I can imagine a most effective lecture with this animation playing in the background supplemented by statistical graphs and video instead of solely relying on the use of colorful anecdotes.

Comments

Popular posts from this blog

VR ‘Redefining’ How We Design

SAMR: REDEFINITION. Image courtesy of Christina Moore 2017. In recent years virtual reality (VR) technologies have gained popularity for enhancement of a myriad of industries and experiences. It’s hard to dispute VR has the potential to transform. It’s exciting to consider exploring these technologies for the purpose of education, but before putting VR into practice in the classroom, it’s important to apply the study of theory to VR potential. The SAMR model (substitution, augmentation, modification, and redefinition) is a great way to apply rather basic theory to VR tech. Although it’s possible VR practitioners and learners can traverse SAMR, based on how VR is used, “redefinition” may be the most impactful way to demonstrate use of these technologies for learning. Redefinition, in regards to SAMR, refers to the ability for technology to “create tasks and ways of learning that were previously inconceivable.” (Technology Is Learning 2014) From the perspective of a CAD and Int

How Discourse and Creativity Express Meaning

Moving from literacy and ‘new literacies’ to D iscourse. In chapter one of New Literacies: Everyday Practices and Social Learning Ed by Colin Lankshear and Michele Knobel . I learned about literacy as a historical concept and a social practice. I also learned about new literacies as ‘paradigmatic’ and ‘ontological’ (Lankshear & Knobel, 2011, p. 27). In chapter two I began to learn more about literacy as a social practice through Discourses and encoded texts. “Hence, literacies are ‘socially recognized ways in which people generate, communicate, and negotiate meanings, as members of Discourses, through the medium of encoded texts.”  (Lankshear & Knobel, 2011, p. 50). As a social practice one can think of literacy as observable ‘things’ humans do with their bodies and minds to create meaning. Lankshear and Knobel cite the work of Scribner and Cole to describe these practices as “consisting of three components: technology, knowledge, and skills. (ibid,: 236)”

The Everyday Remix Practices of Teachers: A Critique of Christopher Emdin: Hip-Hop and the Remix of Science Education

Christopher Emdin: Hip-Hop and the Remix of Science Education UC Denver digital storytelling students wishing to comment on this critique:   Although I would love it if everyone had the time to watch the full youtube video, you can get ‘the just’ of this remix practice within 5-10 minutes of watching if you would like to participate in comments. Please don’t shy away because of the length of the video. Critique Format As part of the continued practice in digital storytelling, in INTE 5340 MA ILT at CU Denver, I will consume digital stories and offer critiques. Until now the course has focused on Jason Ohler’s assessment traits as criterions to assess stories. For the remainder of the critiques in the course, I will focus on “everyday remix practices” as described in the Lankshear and Knobel text New Literacies: Everyday Practices and Social Learning Third Ed by Colin Lankshear and Michele Knobel , on pages 127-140. Introduction In efforts to transition and answer so