Reading Kress, Multimodiality, I was struck by how his model of semiosis lines up with Downs’s and Siemens’s open course pedagogy of connectivism as it appeared in the critical literacies course earlier this summer.
Here’s Kress’s sketch of the sequence by which semiosis moves:
the recipient’s existing
attention, which produces
engagement leading to
selection of elements from the message, leading to a
framing of these elements, which leads to their
transformation and transduction, which produces a
new (‘inner’) sign.
Or, from the perspective of the interpreter:
interest produces attention;
attention shapes the form of the engagement;
this leads to selections being made;
the selections are framed;
there is the subsequent transformation and transductions of the elements in the frame;
and, in that, the (‘inwardly made’) sign is produced.
The sequence reshapes (aspects) of the initial message, the ‘ground’, into a prompt. Interest is the motive force: it is the basis for attention to the ‘ground’ constituted by the exhibition, for engagement with that ‘ground’; it shapes selection, transformation and transduction; and interest becomes evident in the new sign, the map.
And here’s Stephen Downes’s explanation of how the Critical LIteracies Online Course is designed:
We will give you access to a wide variety of things to read, watch or play with…. , what you should do is PICK AND CHOOSE content that looks interesting to you and is appropriate for you. If it looks too complicated, donâ€™t read it. If it looks boring, move on to the next item.
Once youâ€™ve read or watched or listened to some content, your next step is to keep track of that somewhere. How you do this will be up to you.
We donâ€™t want you simply to repeat what other people have said. We want you to create something of your own. This is probably the hardest part of the process.
Remember that you are not starting from scratch. Nobody every creates something from nothing. Thatâ€™s why we call this section â€˜repurposeâ€™ instead of â€˜createâ€™. We want to emphasize that you are working with materials, that you are not starting from scratch.
4. Feed Forward
We want you to share your work with other people in the course, and with the world at large.
Now to be clear: you donâ€™t have to share. You can work completely in private, not showing anything to anybody. Sharing is and will always be YOUR CHOICE.
I wasn’t going to map Kress’s sequence to the course sequence, but I will:Â ï»¿The instruction toÂ aggregate let’s the learner draw on interest to shape her attention, to produce engagement which leads to selection, which slides intoÂ remix.Â Remix andÂ repurpose put the focus on framing the elements of aggregation, to produce a new inner sign – which can then be shared, or not.
This connection between theory of communication and pedagogy – I’m not sure if it’s spurious or not yet – Â also gives the vernacular activitiesÂ aggregate, remix, repurpose, feed forward a pedagogical strength that I hadn’t recognized before.
That’s my morning started.