INCESSANT MOTION THROUGH SPACE: MOBILE LEARNING FIELD ACTIVITIES IN THE HUMANITIES BY MICHAEL SEAN GALLAGHER INTRODUCTION CHAPTER 1: MOBILE LEARNING CHAPTER 1: ADDENDUM CHAPTER 2: MULTIMODALITY CHAPTER 2: ADDENDUM CHAPTER 3: MEANING MAKING: METAPHOR, MOSAIC, MONTAGE CHAPTER 3: ADDENDUM CHAPTER 4: DISCIPLINES AND INFORMAL/FORMAL SPACES CHAPTER 4: ADDENDUM CHAPTER 5: COMMUNITY AND PLACE CHAPTER 5: ADDENDUM CHAPTER 6: MFIELD ACTIVITIES CHAPTER 7: MFIELD COMPOSITIONS CHAPTER 8: EXAMPLES & MODELS CHAPTER 8: ADDENDUM CHAPTER 9: MLEARNING DESIGN CHAPTER 10: TOOLS & RESOURCES CHAPTER 11: DATA OWNERSHIP, PRIVACY, AND COPYRIGHT CONCLUSION REFERENCES This work is licensed under a Creative Commons-Attribution-Non Commercial CC BY-NC. To learn more about this license, see http://creativecommons.org/licenses/by-nc/3.0/. Please contact Michael Sean Gallagher with any questions at [email protected]. To learn more about the author, please see http://michaelseangallagher.org/. DEDICATION I want to thank my wife Jen for encouraging me to write this book, humoring me as I labored through a few chapters, and generally being my favorite person in the entire world. I love her more every day and I can’t wait to see what the future brings us. The last twelve years have been that good. I want to thank my sister Jennifer Gallagher, whose illustrations make this book palatable and even inspiring at times. I knew from the moment I was going to write this book that I would ask her to illus- trate it. We did this once in elementary school (I wrote a story about a turtle and she illustrated it) and I thought to try it again almost 30 years later would be good fun. Her work can be found on her site1. I want to thank my professors and colleagues at the University of Edinburgh, specifically Dr. Sian Bayne, Dr. Jen Ross, and Dr. Hamish Macleod. I wouldn’t have been able to do this without their encouragement. I wish to thank Jeremy Knox and James Lamb, fellow colleagues at the University of Edinburgh, for all their mult- & malt-imodal support. I wish to thank my supervisors at the Institute of Education, University of London, Dr. John Potter and Dr. Niall Winters. I also want to thank my Finn- ish colleague and friend Pekka Ihanainen for his tireless enthusiasm, much of which spilled into this book and these field activities (conducted in person in Helsinki with the greatest bunch of teachers I have ever seen). Many thanks to my friends and colleagues in Seoul, Princeton, Helsinki, Nairobi, Seattle, and London. Here is hoping we get to work together again soon. 1 http://jgalstudio.org/ LIST OF ILLUSTRATIONS All the illustrations that appear in this book were designed by my sister, Jennifer Gallagher, based on conversations we had surrounding the subject of that particular chapter. We collaborated mostly through text on email or through image-based services like Pinterest or Flickr. We talked about the moods or themes we wanted the illustrations to encapsulate. This is a good reflection for your learn- ers to undertake as well. Discussing what mood or theme or impression you want the composition to take and what a representative work might look like with this mood or theme or impression. This is another example of making design thinking visible to your learners. It also represents a real skill of translation from one mode to another and from the conceptual to the applied. FRONT COVER. Yeonhwado (연화도), Korea. This illustration is a remixing of my original photograph from the island of Yeonhwado (연화도) off the southern coast of Korea. It is a small island with only a few residents. From the top of this mountain, I could see in any direction nothing but endless sea. INTRODUCTION. Gathering on City Walls (1904), made available through the Willard Dicker- man Straight and Early U.S.-Korea Diplomatic Relations, Cornell University Library. Retrieved May 10, 2013 from http://library24.library.cornell.edu:8280/luna/servlet/detail/CORNELL- Asia~2~2~4660~100086. This image is used primarily because of the gaze of the people towards the camera and for the way it allows the learner to engage with history. The learner and the subject are interacting. CHAPTER 1: MOBILE LEARNING. Portrait of a young woman (1880), made available by The County Ar- chives in Sogn og Fjordane (Fylkesarkivet i Sogn og Fjordane). Retrieved May 10, 2013 from https:// secure.flickr.com/photos/fylkesarkiv/4731908937/. This image was found conducting a search for Creative Commons licensed materials on Flickr. The gaze of the woman was what drew me to this photograph. For the remixed version, we wanted to demonstrate that the transformation of the learn- er was at the center of mobile learning, that we are generating meaning and understanding is emerg- ing constantly in this process. The second image is a hand-drawn illustration from my sister Jennifer Gallagher demonstrating the transformation and progression of technology. Since the chapter emphasizes the transformation of habitus in mobile learning, this seemed a fitting illustration. CHAPTER 2: MULTIMODALITY. The image was an original that my wife took in Seoul in 2008 and has been modified dramatically to demonstrate the types of modes and media being used in mobile learning to generate meaning. Ultimately, this leads to connections between others. The chapter out- lines multimodality as a mechanism for making sense of mobile learning and this image is intended to demonstrate that we speak across all these modes and media. The second image is Portrait of a Child (1860-1865) by R. Mead made available by the National Ar- chives (US) through Series: Mathew Brady Photographs of Civil War-Era Personalities and Scenes, (Record Group 111). Retrieved May 10, 2013 from http://arcweb.archives.gov/arc/action/ExternalIdSea rch?id=527785&jScript=true. CHAPTER 3: MEANING MAKING. This image is based from an original photograph called Seoul Street Scene made available by Don O’Brien through a Creative Commons license. Retrieved May 20, 2013 from http://www.flickr.com/photos/dok1/123409294/in/set-72057594053303502. The second image is Seoul (1904) made available through the Willard Dickerman Straight and Early U.S.-Korea Diplomatic Relations, Cornell University Library. Retrieved May 20, 2013 from http://li- brary24.library.cornell.edu:8280/luna/servlet/detail/CORNELL-Asia~2~2~276~100046. CHAPTER 4: DISCIPLINES AND INFORMAL/FORMAL SPACES. Korean Boatman (1904), made available through the Willard Dickerman Straight and Early U.S.-Korea Diplomatic Relations collection, Cornell University Library. Retrieved May 10, 2013 from http://hdl.handle.net/1813.001/5xm1. There are no known U.S. copyright restrictions on this image. The digital file is owned by the Cornell University Library which is making it freely available. The inspiration for using this image was partially to the immediacy of the stare of the man juxtaposed against his leisure. I thought that it was important to il- lustrate that mobile learning in history isn’t always about capturing iconic or pivotal events, but rather how we as humans have navigated periods of change. CHAPTER 5: COMMUNITY AND PLACE. Min Yong-hwan’s state funeral procession (1905), made available through the Willard Dickerman Straight and Early U.S.-Korea Diplomatic Relations collection, Cornell University Library. Retrieved May 10, 2013 from http://hdl.handle.net/1813.001/5xmz. There are no known U.S. copyright restrictions on this image. The digital file is owned by the Cornell University Library, which is making it freely available. This illustration is attempting to demonstrate how mobile learning can make history immediate by placing the learner in the geographical context of the event or location under observation. In this instance, we see a funeral procession of a respected states- man. CHAPTER 6: MFIELD ACTIVITIES. Paris Café. This is an original image that I took on Rue Vavin off the Luxembourg Gardens in Paris. It demonstrates how mobile learning helps the learner see the built environment as constantly emerging. The sketch figures and outlines are evidence of the learner’s mental transformation as they are both constructing and deconstructing their geographical context. CHAPTER 7: MFIELD COMPOSITIONS. Leicester Square, London. This is an original image that I took in Leicester Square, London. It continues the Paris café illustration concept of a built environment constantly emerging through mobile learning. Learners are constantly assembling and disassembling meaning in lived environments. CHAPTER 8: EXAMPLES AND MODELS. Cairo University, Egypt. This illustration was built from my pho- tograph of the Cairo University campus in 2008. It demonstrates how meaning can be made through mobile technology, how it can be seen as emerging from the existing structure. CHAPTER 9: MLEARNING DESIGN. Robot Sketch. This is a hand-drawn sketch from my sister in the early stages of our discussion of what the illustrations should look like for this book. It also empha- sizes the usefulness of analogue technology in making meaning in this larger process of coming to know. There are additional images in this chapter supporting the individual examples, all of which were taken by me in Seoul, London, and Tokyo, respectively. CHAPTER 10: TOOLS AND RESOURCES. Cheapside, London England (1890-1900). Made available through the Library of Congress, Prints and Photographs Division. Retrieved May 20, 2013 from http://www.loc.gov/pictures/resource/ppmsc.08576/. This image takes the same concepts from the Leciester Square, London and Paris café illustrations and inverts it to demonstrate that history as seen through mobile learning is in constant assembly and not residing in some static hinterland. It is immediate and urgent. CHAPTER 11: DATA OWNERSHIP, PRIVACY, AND COPYRIGHT. Adam Diston: Cutting a Sunbeam (1886). Retrieved May 10, 2013 from http://www.retronaut.com/2013/02/cutting-a-sunbeam/.