Jun 112013
 

With apologies to HP Lovecraft. And MOOCthulu.

If you are unlucky enough to have any kind of budgetary authorisation powers in a university you will most likely spend a fair part of your day dealing with people who want to sell you stuff (their insidious voices a constant backdrop, never ceasing as your mind turns and turns without respite) .

The remainder of your day is probably spent dealing with people who are convinced that there is a crisis of some sort, that requires immediate action. This would be most of the staff and students of your institution, and a wide range of excitable journalists, bloggers and policy wonks (those strange, pale-fleshed, siren-voiced aberrations against nature) .

By “day”, I am not referring mainly to your working day. Even during your limited time away from your desk and meeting rooms one and two, it is likely that you will keep seeing things (even those squamous creatures that infest your dank fitful dreams, drawing you ever nearer to the nameless dread lurking beneath the inky black waters of your softly-evaporating soul, calling to you repeatedly and clearly across the starless night, come to us, come near to us, let us embrace you and make you more than human, and whose dimly glimpsed forms still twist and squirm at the edges of your scarlet-rimmed eyes…) that give you the impression that the world will end unless you authorise that invoice.

Don’t you wish you could make it all go away? (Don’t you plead in the darkest moments of your pre-dawn torments that you would offer anything to MAKE THEM STOP! MAKE IT ALL STOP!)

A range of international companies are now offering what can only be described as “online learning in a box”. They provide and maintain a platform, develop online marketing, devise and produce course materials and assessments, even provide staff to teach. And they even give you money.

And all they ask in return is your soulinstitutional branding rights.

These companies are starting to become more aggressive in their sales techniques. If a senior manager is being unresponsive, they will go around them to others. They will make vague, non-specific promises – show case studies that are at best related to reality.

I don’t want to name these companies (as to name them would be to summon them, dragging the nameless dread from the elder times from their seabed bower, where they lie dead, dreaming…) but I do want to enumerate their demands.

For firstly, they demand to have possession of your institutional brand, for the purposes of selling their online courses. And do not be mistaken. These are their courses, not yours.

For secondly, they require that you agree to any daemonic aberration of a course that they happen to come up with that might “sell”. They will use their staff – who may also teach courses for other “institutions”, their resources, their tools.

For thirdly, they will design banner adverts of horrific countenance (some of which will animate) and plaster these all around the web. You may already have branding guidelines – prepare to see them swept away.

For fourthly, they will react with a less than complete delight when you realise how easy it actually is to run your own courses and begin to do so. For alas, you will no longer have the right to.

For you see, they are the high priests – you are a novitiate – you see only the immediate advantages, they understand the long-term value of what you are giving them freely and without reservation. Ask yourself who has an online learning operation you admire – chances are they are running it themselves.

Invest instead in your own people, your own capacity, your own understanding. Use the statutory seven-day cooling off period to educate yourself online: read, research and ask your expert networks. If you don’t have an expert network, ask someone else’s.

(For the day and the hour are coming where the Elder Gods will rise and lay waste to your pitiful existence, the soft choking darkness will engulf your body and the dim red lights behind your eyes will pulse to an ancient rhythm… Ph’nglui mglw’nafh Cthulhu R’lyeh wgah’nagl fhtagn! Ph’nglui mglw’nafh Cthulhu R’lyeh wgah’nagl fhtagn! Ph’nglui mglw’nafh Cthulhu R’lyeh wgah’nagl fhtagn! )

Jun 102013
 

(post originally written for Wonkhe.com)

Sometimes in reading a report you spot what is missing before you see what is there. In reading through the latest IPPR report “A Critical Path: Securing the Future of Higher Education in England”, one is struck by the lack of references to another (comparatively recent) report, “Securing a Sustainable Future for Higher Education“. Such has been the slump in fortunes of the Browne review that a report just three years later covering almost identical ground does not see fit to offer it a single mention.

Despite this, there are a number of eerie echoes between the two.

  • both call for a merger between HEFCE, OFFA and the QAA, ignoring the QAA’s UK-wide remit, and the legendarily efficient way that the three bodies already work together.
  • both make a lot of noise about an improved deal for part-time students, but do not offer any real answers. (Browne suggested wider eligibility for loans to counterbalance a rise in fees – it turned out only a third of part-time students were eligible, and only 20% of them actually took the loan. IPPR suggest slightly relaxing ELQ rules [where the government refuses to support students studying a qualification of equivalent level to the one they have], slightly addressing the former problem whilst completely ignoring the latter)
  • both wring hands about the need for increased government investment in HE (currently among the lowest in the developed world, Fig 2.9 in the IPPR report) but stop short of calling on the government to invest more.

The IPPR review harks back instead to the Robbins report of 1963, a far more radical document which explicitly called for greater government investment to support social mobility. Lord Robbins produced a report that is still seen favourably by government and academia, something which Lord Browne and his committee appear not to have managed.

And social mobility remains an issue for the university system, as a recent Guardian FOI-led story shows.

The IPPR answers to the decrease in social mobility opportunities that the rise in student fees has led to are twofold; one – sensibly – is to end the money-saving presumption that student bursaries should be in the form of fee waivers, the other – questionably – is to extend the questionably attractive “Coventry University College” model of cut-price degree courses. Neither of these really addresses the issue of local students living at home studying to fulfil local needs (chapter 4 of the IPPR report), but at least the first idea breaks down the barrier of living costs for full time study – a more pressing issue for 18-year-olds without rich parents than the amount repayable during their post-graduation working lives.

Other coverage is likely to centre on the rebadging of FE institutions offering employer-linked courses as “polytechnics” and giving them degree awarding powers. This is a politically powerful announcement, playing to a common-sense conceptualisation of the recent past – but changes nothing from the current state of affairs, where colleges are often delivering courses at a number of levels linked to employers and are free to apply for degree awarding powers should they so wish.

There is also an expectation that new open online course models (or MOOCs) will take some of the widening participation strain.  Despite the only recommendation in this vein being that the OU offer accreditation to students studying on their FutureLearn MOOC platform (something that they have explicitly said they would not do, not least because of no arrangements yet being in place to address quality assurance and plagiarism detection), the real interest comes from a complete absence of the MOOC boosterism in the recent IPPR publication “An Avalanche is Coming” (though there is a grudging mention in the bibliography). With both the Browne review and “Avalanche” ignored, Sir Michael Barber (a key part of both) must be looking carefully at the IPPR entry on his Christmas card list.

An initial delight in seeing the bold (and emboldened statement) “we have concluded that the current student funding system is unsustainable.” is mitigated by the realisation that the bought in analysis (with figures from London Economics, same place as last months Million+ report on the same issue) is riddled with errors, both technical – there is a frequent confusion between immediate government spending and long term financial exposure – and ideological, in that there is no countenance offered to the idea that the government just needs to spend more on HE. To anyone seeking a more thorough and reliable examination of these issues, we could only recommend a read of Andrew McGettigan’s “The Great University Gamble”.

It is good to see that the continuing crisis in postgraduate support is at least being brought to the attention of politicians, but again the report offers few lasting answers – the introduction of fee loans would compound the financial black hole that the undergraduate support system is already dragging DBIS into.

This report is probably only of interest to two groups – wonks like us who want to unpick the politics and positioning, and politicians like Stephen Twigg who want a policy idea for a headline. Like the Browne review it is unlikely to be referred to even in three years time, but (also like the Browne Review) it foregrounds the need for a proper examination of funding for higher education in England and in the UK.

 

Jun 042013
 

Like many twitter using this morning, I’ve read and retweeted this amazing article from Charisma about the way Wonga (the payday loan company) uses big data to make loan decisions.  You might think that your social media use may have little bearing on whether or not you are eligible for credit, but social networks like Facebook are one of a range of sources that the company uses to confirm identification and assess lending risk.

This slate.com article on the same topic includes a wonderful quote from ex-Googler Douglas Merrill, now at ZestFinance (a company who sells aggregations of data to aid credit decisions):

“We feel like all data is credit data, we just don’t know how to use it yet. This is the math we all learned at Google. A page was important for what was on it, but also for how good the grammar was, what the type font was, when it was created or edited. Everything.”

Everything.

You’d think with all this big data goodness that Wonga and the like would have no trouble with getting their repayments on time, wouldn’t you?  But Wonga wrote off £77m of debt the year before last (when it made £46m of profit). UK Member of Parliament and campaigner against payday loan companies Stella Creasy notes that 57% of customers miss at least one payment and half are unable to repay entirely.

It would appear that many customers choose to “roll over” the loan – borrowing again to pay off the existing loan + interest. And companies like Wonga charge fees for missed payments, and have a very aggressive approach to debt collection.

Is it too much of a leap to suggest that maybe all this “big data” is being used to identify the most profitable customers, rather than the most suitable? Social media data can supposedly be used to make inferences about a persons lifestyle and IQ, after all.

Data may have presumptions of neutrality, but any commercial enterprise looking at using data to enhance decision making would most likely have an eye on profit. And what is good for business may not be good for people.

May 312013
 
fota6flyer

It’s been a while but FOTA Radio, the infamous #ds106radio show, is back and as brutal as ever.

This particular show looks at ideas of nostalgia, loss, obsolescence and the ways an oppressive government can bring these about, through the lenses of:

The music of the UK Rave scene was characterised by the use of (often incongruous) dialogue samples, so you’ll hear a lot more stuff you recognise, both within the music and added by me.

As far as there is a story, you could imagine numerous characters attempting to return to and reassert their beliefs based on their formative years, only to find that their early years are not as innocent as they remember – precisely because of (their? others?) over reliance on a detailed examination of these beliefs.

I’ve used Cakewalk Music Creator 6, Audacity, and audio sourced from my personal collection and ripped from various video hosting sites.

For a limited time only, the show is available to download here ( & google drive mirror), it will eventually make its way to MixCloud or SoundCloud, along with earlier episodes.

fota6flyer

May 302013
 

It can hardly have escaped your attention that there is a new game in town – and that game is blended learning. Both disruptive action man Clayton Christensen and free-course behemoth Coursera have recently swung round to the idea of educational institutions not being broken, merely tired-looking.

The thinking being that the whizzy and exciting private sector can provide content and materials, because learner engagement is all about being presented with shiny things to coo at. And if those shiny things are on a computer, even better.

In other words, Coursera and Christensen have invented ACADEMIC PUBLISHING.

Now publishing was a great way of making money right up until the invention of the internet. These days, even huge and faintly terrifying enterprises like the mighty Pearson are issuing profit warnings, due to the huge and increasing amounts of high quality content available freely online.

Sales are so far down that they have moved into the murky (and now, oh so nostalgic) world of the MOOC. And have begun spouting the kind of  disruptive natural event nonsense that Christensen was doing in 2011. (exclusive video footage of celebrity mountain goat Michael Barber describing the issue in measured terms)

Both academic publishing and what I guess I’ll now call “alternative education structures” are predicated on the idea that there is somehow money in delivering higher education. I mean  - just look at the money universities can charge students! There must be something in that?

Student fees are rising because public investment in HE is dropping.  The canonical example of tuition fee madness is the US, and this article neatly debunks the all-consuming meme.

“Tuition revenues are up substantially due to higher prices and more enrollments, but not enough to offset losses of public funding,”

But such has been the anti-education hype (for example, the always useless Fast Company)  that it is generally assumed that Universities are just greedy.

Both universities and the (private sector) supporting industries around them are squeezed because of a deliberate global policy decision to end the  conceptualisation of education as a public good.

So – there is no gold. There is no news.

Just a largely defunct industry and a mess of clueless entrepreneurs chasing a non-existent pot of gold.

[see also: Hapgood on spotting this coming, Martin Weller on the MOOC bubble bursting]

May 222013
 

I’ve been watching, with awe, the sheer marketing genius behind the release of the new Daft Punk album, and wondering what I can learn from it.

There’s been surprisingly little written about the marketing plan, what does exist seems to fit neatly within the meta-PR (PR about PR) genre.  Gearóid Cashman of Harvard PR (no, not that Harvard) notes:

“[T]he biggest story here is the unprecedented level of engagement from the audience – people taking the initiative to use the limited content given to them to create their vision of what it meant to them.”

This made me think a little of the idea of culture jamming – appropriating fragments of culture and reinterpreting them to make sense of the world around us. Very ds106.

More plainly, Brock Clauser of Stream Companies says:

“[T]hey have used older PR tactics to play into our new social world.”

But to me, it’s what they have sold, rather than how they sold it, that is where the genius lies.

Somehow the release of an album has become important, in an era where apparently the single is everything. Even Ian Astbury of the Cult says so.

Somehow a cultural artefact that repays, and indeed demands, sustained and repeated engagement has become popular in an age of “instant gratification and quick fixes”

I wonder for how many people Random Access Memories is their first experience of a complete, realised album as a single experience. It’s certainly been the first time for a long while that I’ve noted stuff like repeated motifs and chord progressions, coherent soundworlds, thematic unity and all the other boring stuff that is why people still listen to the whole of Dark Side of the Moon rather than just the hits.

Daft Punk’s marketing team have sold us the idea of an album as an event. As an experience.

And I wonder if Higher Education needs to come up with a way to do something similar.

I realise I’m on fallow ground drawing an education/music industry parallel. But we are seeing a move towards selling short blasts of “education” as a product, rather than as a longer experience.

And the old widening participation arguments, around encouraging people to try this experience that otherwise wouldn’t consider it, is being nearly eclipsed by this new model.

If we talk about education as a product, as a key to a better salary, then shorter, quicker, less personally affecting means of acquiring it become more popular.

(The pricetag is a red herring here, education still costs the same as it always has, but more of the costs are now visible to the end user rather than being covered invisibly by government support)

I want higher education to be personally affective. I want it to change peoples ideas and outlooks. I want it to expand minds and challenge preconceptions. Which I suspect is another way to say I want it to be messy, difficult, unfashionable and not for everyone.

Who is going to sell a whole course in a market swamped by silly homogenised “tasters”? And how?

PS: … and if “Fragments of Time” isn’t yacht rock I don’t know what is.  Koko’s fire is still burning. Smooth music will never die.

May 192013
 

[note: the Jisc blog already has a response to the UUK publication on MOOCs, which - if it is your first time here - is probably the blog post you are looking for. You can go about your business. Move along. If you actually want to read something coherent about MOOCs try this write up of an RSC Webinar I did last week -  thanks to @hblanchett for the great post which makes me sound far better than I actually was.]

There is a small but growing number of people who flinch whenever they see the word “MOOC” appear on their twitter timeline. I’d put myself amongst their number – I seem to have reached a point of super-saturation which has rendered me unable to to register any emotion other than boredom with the whole topic. This may well be the last MOOC-post on here for a while.

You know what? If you are interested in MOOCs, go and do a MOOC. If you enjoy it, do another one. If you don’t – go and do something else.

There’s various people out there trying to sell you the whole experience as some kind of futuristic panacea, there’s others that are using the panic and disquiet to sell you an online university in a box that will make all the scary go away. (Don’t give either of these groups any money.)

In fact, if you want a one-word write up of the #openandonline event, try “fear”. Fear of being left behind. Fear of being rendered irrelevant.

ZunguZungu puts this better than I ever could.

“Where this urgency comes from, however, might be less important than what it does to our sense of temporality, how experience and talk about the way we we are, right now, in “the MOOC moment.” In the MOOC moment, it seems to me, it’s already too late, always already too late. The world not only will change, but it has changed. In this sense, it isn’t simply that “MOOCs are the future,” or online education is changing how we teach,” in the present tense. Those kinds of platitudes are chokingly omnipresent, but the interesting thing is the fact that the future is already now, that it has already changed how we teach. If you don’t get on the MOOC bandwagon, yesterday, you’ll have already been left behind. The world has already changed. To stop and question that fact is to be already belated, behind the times.”

We should be stopping, pausing, thinking (even pointing and laughing) at stupidity like “MOOC or die”, or even at pressure to “respond” in some way to the agenda.  That we are not says more about our need to cling on to anything that seems to offer a path out of the cultural, social and economic morass we find ourselves in.

A “MOOC” is not massive, open, online or a course. It is a MacGuffin. It is a big friendly reset button. It is a magical device that retcons the failed digital education revolution of 1999/2000, and ignores all of the many things we have learned since.

It works because we get to have the shiny future without acknowledging the 10+ years of tedious actual work (both technical and conceptual) that underpins it, and the further 10+ years of work need to get it to a stage where it is actually of use to someone.

The MOOC as it currently stands is a flawed vision of the near future. And we don’t need to buy into every prophecy or panic that surrounds it.

 

May 142013
 

There’s a new iteration of ds106 on offer. Following on from the sterling work of the Cogdog, the Bava has decided to have another crack at the only large scale free course I would recommend to everyone.

This is what an online course could be, if it was done by humans.  And this is a very rough demo of what it might sound like.

 

Apols to Daft Punk

Apols to Daft Punk (click to see animated)

(note: some people are showing worrying signs of taking Followers of the Apocalypse seriously… this is a special post just for them. Policy analysis and moocmongery is all very well – sometimes you have to make art, dammit)

May 062013
 

I know no one was expecting me to, but I was really looking forward to Coursera’s “Introduction to Improvisation” (Gary Burton, Berklee). I’d really hoped I’d not have to be writing this kind of post – I genuinely wanted to improve my musicianship and, though I don’t quite come from the same tradition as Gary Burton, I have a lot of respect for what he does.

To prove that I ain’t no lazy drive-by drop-out, here’s my recording of Lesson One: Assignment One. That’s me on hammond organ, the rhythm section (piano, bass, drums) is from the Coursera-provided backing track. (the closing chorus demonstrates why I’ll never get a gig in a posh hotel…)

The challenge was to improvise over an arrangement of a jazz standard, “What is this thing called love?” (Cole Porter, 1929)*. Like many jazz standards it is an old show tune, and – in the right hands – a very beautiful one. For example, Ella Fitzgerald does a very straightforward version at a slower tempo. She neatly illustrates the “form” of a jazz standard in starting off by stating the tune, then including a bit of improvisation, then back to the tune.

In instrumental jazz it is generally taken a fair bit faster (for example, The Bill Evans Trio), but it has the same overall shape. The Bill Evans version starts with a very quick statement of the tune on the piano, leading into a much longer improvisation that departs much further from the tune and incorporates all three instrumentalists. But they arrive back at the original theme at 3:55.

You’re probably wondering where the tune was in my version – the answer is that we were never told about the tune or even that it *was* a jazz standard. So whereas Evans can use the tune, or previous interpretations of the tune, as a starting point for doing something else, we were not given that option.

What I mean by using the tune is taking clues from the shape and form to provide inspiration for the stuff I play afterwards. For instance, the tune repeats the first bit (we call it the A section) twice, then does another bit (the B section) and then goes back to the A section. In the A section the notes of the melody are all grouped fairly close together, where as there is a big leap up to higher notes for the B section. And there is a rhythmic motif (DAA-da-da-da, DAAAAA-DAAA) to the melody that repeats, and also serves to anchor where the chord changes go. Listen to the Ella version again and you’ll hear it. (non-musicians: you will, trust me)

There are as many ways to improvise as there are improvisers, and to his credit Gary Burton did try to leave this assignment wide open to allow for this. But some of his assumptions about improvisation did permeate.**

In assignment two we were asked to analyse a solo he had taken over the same song – but large hints were dropped that we were expected to place what he was playing in terms of the harmonic relationship to the underlying harmony (we had a chord chart and a transcription to help us). But this kind of analysis ignores two things:

  • any rhythm section worth it’s salt will be mucking about with the harmony underneath the top-line improvisation. They will be following it, adapting to it, echoing it or even steering it by their choices of notes and rhythms. So the underlying harmony is not, and never should be, entirely static.
  • If you are choosing a scale for every chord you will (unless you are super-amazing at jazz) be creating a solo that doesn’t tell a story, that doesn’t really flow. It will be lots of tiny, quite likely very interesting, bits that don’t really fit together. And really annoying your rhythm section who are trying to follow you and contribute musically to what you are playing.

To branch into a non-musical metaphor, it’s like the difference between learning phonics and learning to read. Phonics (letters and group sounds) are tools to allow you to analyse words to figure out how to say them. But if you can work out the word from the context you have read it in, you don’t need phonics and they will simply slow your reading down.

We were given a harmonic progression shorn of contextual clues, and then encouraged to break down any remaining context by treating each point in the implied harmony as an individual world in itself. This is a great impetus to want to learn chords and scales (“what scale do I use over a Dm7 b5??” comes the cry from the forums) but it is not – in my reckoning – a good way to actually learn anything about improvisation.

You could take the “correct” scale for each chord and zoom up and down it really fast all the way through the piece. But it would sound horrible, because it wouldn’t be telling a story, and it wouldn’t be possible to join in and add to the story.

In this way, it highlighted a limitation of xMOOC pedagogy in that by addressing students in isolation, there is little opportunity to co-create narrative or respond to each other. If you treat each learner as playing in isolation you produce a generation of musicians that know every scale for every chord, but don’t know how to listen, react and contribute

Stuff like DS106 (especially) and Phonar do this brilliantly. For both there is a huge range of tools and approaches that could be employed to tell stories, but the emphasis is on the telling of the story and the story is told by many voices.

“What is this thing called MOOC?
This funny thing called MOOC?
Just who can see a pedagogy?
Why should it make a fool of me?

I tried a MOOC, one wonderful day
It took my try and threw it away
That’s why I ask the Lord in Heaven above
What is this thing called MOOC?”

(and @dmuviv records the vocals in her best ‘Ella’ voice…)

* Amber Thomas will know it as the tune from that bit in “Fifty Shades Darker” where Christian and Ana arrive at Le Picotin.

** Other Courserians (born under the sign of Courserius?) complained of an over-emphasis on written music, and a focus on top-line as opposed to rhythm instruments.

Apr 192013
 

“We do not influence the course of events by persuading people that we are right when we make what they regard as radical proposals. Rather, we exert influence by keeping options available when something has to be done at a time of crisis” Milton Friedman, “Two Lucky People” (1998) quoted by Dougald Hine in “The End of the University as we know it?” (27 Jan 2011)

I’ll admit I was startled when Dougald, whom I know via his work with Dark Mountain (and in an unlikely series of coincidences, briefly played in a band with on Teesside in the early 90s) announced his intention to quote favourably from neo-liberal pin-up Milton Friedman. But when he shared the quote with me, I immediately understood why.

It is a beautiful encapsulation of the nature of resistance to orthodoxy, at the very basic level of ensuring that an alternative to the orthodoxy remains within – as a undertone – the ongoing public discussion. Where an idea seems to prevail, Friedman’s counsel suggests that an all-out attack on the idea is not as effective as something more subtle.

I was reminded of this as I read (at the recommendation of Mark Johnson) Roland Bartlett’s “Imagining the University” (Routledge 2013). I heard echoes in passages such as:

“What is striking about [the] conceptual journey that the idea of the university has undergone – over nearly one thousand years – is that it has gradually shrunk. Whereas the metaphysical university was associated with the largest themes of humanities self-understanding and relationships with the world, the idea of the university has increasingly – and now especially in its entrepreneurial and corporate incarnations – closed in. The entrepreneurial university is expected to fend for itself, and attend to its potential impact on particular segments of the economy, and become distinctive. This university has abandoned any pretence to be associated with universal themes.” (p2)

The shrinkage of the idea of the university, most notable in the past 30 years, has led to the framing of all possible discourses around the university in terms of “impact” and “viability”. Even the alternatives to Bartlett’s “entrepreneurial” university are assessed in terms of their impact – in terms of what immediate and tangible benefit that they can offer – even as (again in Bartlett’s arresting words) “feasible utopias”.

In Christopher Grey’s wonderful account of the organisational structure of Bletchley Park (something with I continually refer to with joy) he illustrates wonderfully the idea of an idea enclosing and defining a discourse:

“In a similar way [a] history of the Home Guard notes that it proved impossible to write that history without extensive reference to the popular television comedy ‘Dad’s Army‘ because this had so heavily inflected cultural memory and understanding of the topic. This is a very particular and perhaps extreme example, but it is illustrative of the more general significance of the interpretation and re-interpretation of the war in subsequent decades” (pp116-117)

Once you have defined the terms of the debate, it is difficult to avoid dominating it. Culture is riven with such shibboleths, commonplace interpretations and references. And it is these, far more than the facts of any given field, that dominate it.

The stories we tell are far more important that any mere facts, and the stories we contribute to need to be treated as narratives to which richness and delight must be added rather than fictions to be quashed.

In the UK, we’ve just lived through a concerted and deliberate attempt to  define Margaret Thatcher as a universally admired national hero. At first the long-witheld joy (and yes, it feels wrong to define it as joy, so successful has been the narrative engineering) felt by so many who have struggled so long against everything she and her ideology stood for was quashed by an instruction to think of the feelings of her family (respectively a fraud who attempted to destabilise a sovereign state and a quasi-celebrity racist). Then, after an unprecedented 7 hours of Parliamentary eulogies (Churchill, an equally fishy and divisive character – who argued against universal suffrage, lest we forget – was only afforded 40 minutes) we were told it was not a time for party political point-scoring!

The lasting effects of the resistance to this will not be the protests at the cortege or the street party in Glasgow, it will be the open and public commentary of thousands of ordinary people – on social media and to each other. Our Mass Observation project will be soliciting diaries on 12th May 2013 – I can only urge people who care to write about Thatcher and what they felt at her passing. The recently released (JISC-funded, no less!) archives from the 80s are equally illuminating as a definition of a serious and politically active 80s light-years away from yuppies and electro-pop.

An owned discursive space is a striated and predefined space, where even resistance is a codified reinforcement of the dominant position. The “riots” against Thatcher became a part of her canonisation by the British establishment – a signifier that those who opposed her opposed all forms of public decency and order. Thinking again about the narratives of the future of the universities, Bartlett suggests:

“Is not academic  life across the world increasingly striated [after Deleuze and Guattari] , with severe limits placed upon it and entreated to run its course in certain directions. [...] “No nomadism here” might be the sign over the university’s entrance.” (P103)

A long way from the Abbey at Thélème! Rabelais inscribed the rather more permissive “Do What Thou Wilt” as the one abiding rule governing the intellectual and pleasurable pursuits of his novitiates.  And Newman, in his “Idea of the University” suggested

“An assemblage of learned men, zealous for their own sciences, and rivals of each other, are brought, by familiar intercourse and for the sake of intellectual peace, to adjust together the claims and relations of their respective subjects of investigation. They learn to respect, to consult, to aid each other. Thus is created a pure and clear atmosphere of thought, which the student also breathes, though in his own case he only pursues a few sciences out of the multitude. He profits by an intellectual tradition, which is independent of particular teachers, which guides him in his choice of subjects, and duly interprets for him those which he chooses. He apprehends the great outlines of knowledge, the principles on which it rests, the scale of its parts, its lights and its shades, its great points and its little, as he otherwise cannot apprehend them. Hence it is that his education is called “Liberal.” (Discourse 5)

Newman saw knowledge holistically as a set of narratives that intermeshed – there were none of the constraining striations that Bartlett warns against. Any attempt to limit this “Liberal” education would lessen its impact. And the striations do limit the impact of what universities are doing and are able to conceive doing.

My “feasible utopia” would be an unconstrained, Newman-esque academy. But I’m not quite naive enough to think that going around demanding one is going to get me any way towards it actually existing.

I’ve not been using all these scholarly references to show off how smart, or how widely read, I am. I’ve been using them because they are a helpful way of structuring and scaffolding an argument I am building. The argument I am building is that resistance, that critique, that just preserving the idea of another way, is valuable in itself. I’m able to build it because I am lucky enough to have had the chance to exist and grow, briefly, in an unstriated space and to have been astute enough to recognise this at the time.

To even recognise the critical basis of an attack on the university as unsustainable and unviable is to empower the attack. A final point from Bartlett:

“[In] an instrumental age, any serious exercise of the imagination has to face the jibe ‘But you are not living in the real world’. The proponents of this view fail, of course, to recognise that their reference to the “real world” is question-begging, for what is to count as “the real world”? Is “the real world” the contemporary world, with its gross inequalities, its distruction of the natural environment, its diminishing of the humanities (as it gives the highest marks to the sciences and science and mathematics-based technologies and its valuing of higher education only insofar as higher education yields a return in the knowledge economy? The imagination, in other words, may be working to bring about a different “real world” (p31)

If you accept the premis that an alternative has to be grounded in the “real world”, you’ve lost. Those arguing for the “entrepreneurial university” and the like are arguing – as Baudrillard put it “neither in a logic of war, nor a logic of peace, but a logic of deterrence.” Later, he continues “We are no longer in the logic of the passage from virtual to actual but in a hyperreal logic of the deterrence of the real by the virtual”.

This idea of the “real world”, as I’ve gone over again and again on these posts, is a pointillist idea that does not bear close inspection. The people arguing that we must take account of the reality do not live in it, because it simply does not exist.

And I may perhaps be excused for not building my arguments on the meagre and constrained dreams of our ruling class. And I may instead work on substituting, artfully and subtly, our dreams for theirs in the collective reinterpretation of our lived history.

“I decided I wasn’t coming here again.I went to the pub.’They were all singing, all of ‘em.[...] ‘oh, some song they’d learned from the jukebox.’And I thought, “Just what the frig am I trying to do? Why don’t I just pack it in, stay here and join in with the singin’?” [...] I did join in the singing, but when I turned around,me mother had stopped singin’, and she was cryin’.I said, “Why are you crying, Mother?” And she said, “There must be better songs to sing than this.” And I thought, “Yeah, that’s what I’m trying to do, isn’t it?” Sing a better song.” (Educating Rita)