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Digital Learning Lives

Trajectories, Literacies, and Schooling

Series:

Ola Erstad

Today’s world is in turmoil. Economic crises are bringing countries to the brink of ruin, and old models are being questioned. The same sense of crisis also exists in contemporary education, and there is a need to explore new educational models. Digital Learning Lives: Trajectories, Literacies, and Schooling is a contribution in this direction. This book explores the importance of the adoption of digital technologies by contemporary education systems. Partly a synthesis of findings from projects carried out in Norway by the author over the past 15 years, the data have been extended to raise key questions about the effectiveness of current education strategies for the Facebook and YouTube generation. Along the way, a promising approach for future developments in education is introduced that embraces the engagement of digital media ‒ what Ola Erstad terms ‘learning lives’. Use of digital media in schools and in everyday culture becomes the catalyst for exploring learning as life-deep (studying identity processes), life-wide (studying learners across contexts), and life-long (studying learning as trajectories and timescales). The book is targeted toward courses on digital learning, educational change, school development, and formal-informal learning.

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Part I: Digital Lives

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P a r t I Digital Lives Erstad Final_Erstad fin 8/14/13 9:18 PM Page 27 Erstad Final_Erstad fin 8/14/13 9:18 PM Page 28 c h a p t e r t w o “Opportunity Knocks” Epistemic Agency of a Digital Generation Introduction The title of this chapter refers to a famous British television and radio talent show during the second half of the last century called Opportunity Knocks. It was broad- cast on and off as a television show from 1956 until 1990. What made Opportunity Knocks different from other shows was that the winning acts were decided not by a panel of experts, but by the viewing public. In the first version of the show, the pub- lic got to choose their favorite act via a postal vote, with the winner being announced the following week. The later BBC revival of the show was notable for being the first TV show to decide its winner using the now-standard method of a telephone vote. In both versions, the studio audience reaction to each act was measured by a clap- o-meter, but this did not count towards the final result. The program was recorded the Friday before transmission, so votes had to be in by Thursday. Although Oppor- tunity Knocks did produce a number of talented acts, the method of putting the con- test to a public vote sometimes resulted in victories for novelty acts, in particular those involving children or animals. Today, most of the...

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