L1e’s authorial voice is clear in his posts, and his brutally honest approach is irresistibly endearing.
In one post, L1e reveals his personal follies. The raw honesty makes L1e that much more human and relateable. The online discourse reveals a side of him that is rarely evinced onsite, where he strikes the observer as the quintissential or consummate artboy and undergrad.
It was observed that L1e was just as comfortable as L2a and L5j in sharing potentially incriminating information about their youthful exploits.
It would be reasonable to assume that learners who have read the same modules in previous semesters, are less inhibited onsite. I ask this because the trust that such learners have, contrasts with the guardedness evinced by L3e, L4k, and L5k.
Computer supported collaborative learning, is facilitated when learners feel safe within the online and onsite learning environments, undergirded by the affective socio-emotional dimensions of interpersonal engagement.
In L2e’s subsequent post, he pointed out how Torrent provides users with unfettered access at the expense of the artists’ intellectual (or creative) property.
It is imperative that the learners see themselves as contemporary Open Source Studio Netartizens who “empower the spectator and deepen his or her experience” (Packer and Jordan, 2002, p. 96) as they were taught in the previous session, rather than seek to jealously guard it from potential torrent pirates amongst their passive, disengaged spectators. I argue that artists should conceive their audience as “spectactors” — a term borrowed from Drama-in-Education (DIE) literature.
Ascott (cited in Packer and Jordan, 2002, p. 96) advocated the “spirit of cybernetics” to achieve a dialogue between artwork and audience.
Artists who persist in adopting a “nineteenth-century structure of operations” (Ascott, 2002, p. 98), thus fail to include the viewers as active participants in the creative process, inadvertently encourage their “viewers” to pilfer their work, which they view a commodity that is to be transmitted by the artist and received or downloaded by the audience.
Like L3p, L1e has yet to form the habit of embedding hyperlinks into the text. L1e pasting the entire URL after the quotes. This is odd, given that the tutor emphasized this during the previous onsite session. I ascertain why this was so, when I meet L1e this Thursday.
Ascott, R. (2002). Behaviourist Art and the Cybernetic Vision. In R. Packer & K. Jordan (Eds.), Multimedia : from Wagner to virtual reality (Expanded ed., pp. 333-344). New York: Norton.