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link back to page one RESEARCH emphasis on design based application and practical uses of technology, rather than an approach taking critical engagement as a || In the view of Latour, this concept describes technologies not as actants but as intermediaries that only “transport meaning”(Latour 2005, 39) without bringing transformation which contradicts the concept of the social nature of machines. ||
 * INTRO || TWITTER not a study of Twitter students were not asked to set up twitter accounts or to use twitter for any task the use was purey at th students own initiative and not directed by the researcher - so an observation that is partially removed from a researcher predetermining observations or what to look for ||
 * Recognition of cognition and avoidance of technology || Who recognises technology.
 * **The agency of the software ** || Based on the notion of the agency of technologies by Bruno Latour, this thesis is going to explore the agency of digitally-created artefacts, enabled by social media and social networking software platforms. In order to conceptualize this view, we are turning to the new media scholar Mirko Tobias Schäfer (Schäfer 2011). In the book Bastard Culture! he gives an agency to software and software-based programs in order to reveal his concept of social participation in Web 2.0. ||
 * THINGS OBJECTS Quasi objects AND ARTIFACTS, bodies documents "discourses" arrangements assemblies networks and non material software, script programs proceduressoftware as Material, ||  “software” has several definitions but one way to describe it is as “instructions and associated data that directs the computer to accomplish a task” (Shäfer 2010, 26). Schäfer presents the software as having an ambiguous nature, located between the material and immaterial, between the real and the symbolic, and he defines it as a “rather strange phenomenon” (ibid, 63). Software-based programs have inscribed programs of action but they are powerful because they can modify social relations. In Latour’s view, we can call the software and software-based artefacts “quasi-objects” (Latour 1993, 51). ||
 * Affordance design an appropriation || A quasi object is a mobile object that is passed between actors within a network of relations but is not just an intermediary that only “transports meaning” (Latour 2005, 29), as it can also “mediate and transform personal and collective identity and network relations” (Boje 2002, 3). Quasi objects have a collective nature because they “attach” humans (Latour 1993, 89) and non-humans to one another and they trace networks. Schäfer explores the software artefacts in relation to three properties: “affordance, design and appropriation” (Schäfer 2011, 17). Software affordances refer to the “specificity of technology” inscribed in the design of software artefacts. As mentioned earlier in this paper, Bruno Latour also utilizes the term in order to illustrate the potentials embedded in non-humans. In this sense, software applications and digital artefacts created by them invite the users to use certain skills and practices which are preliminarily designed in the technology. The design of a technology relates to the shape of the artefact made by certain technologies or materials. Schäfer argues that design is dependent on the properties of the materials but it also “creates its own affordances” (ibid, 19). In software platforms and artefacts the possibility of new affordances is much greater than in traditional artefacts due to the complex features integrated within the design of the applications. The third aspect, appropriation, refers to the fact in the everyday life, users adjust the technology and tailor to their needs which can “transform the original design” (ibid, 19) in a way that was not necessarily predicted by the creators of the product. All the three design procedures of software technologies are independent and at the same time interrelated and shaping each other. ||
 * ANT as an APPROACH to the material and not material of TWITTER || Technologies are seen by Latour as active mediators, meaning that they can “transform, translate, distort, and modify” (Latour 2005, 39) social relations. According to him, artefacts (as coconstituted network of actors so with an heterogeneous range of assembled or "enrolled other actors) not only possess a meaning, but they also “produce a meaning” (Latour 1994, 38). This view opposes the concept of the German philosopher Martin Heidegger gives to technologies stating that the essence of technologies is to “bring-forth” (Heidegger 1982, 12) rules and instrumentality.
 * TRANSLATION in TWITTER || Technologies, as well as humans, also have goals inscribed in their design. What is more, in the interaction between humans and technologies, the goals of the human and artefact might change into a third one which has not been expected – a process which Latour calls “translation” (Latour 1994, 32). ||
 * Translation in general Fox community || Third, the central work-process, through which any network expands/contracts, is a process of ‘translation’. In translation, one element stands in for another or many others (Callon, 1986a, b; Callon & Law, 1982), just like a word in one language stands in for another, or a symbol stands for many strings of symbols. When one thing stands for others, the others are ‘black-boxed’, that is, in a sense they are ‘forgotten’ about, assumed, or presumed. In this context, the worldwide web is a globally networked inscription device, and networked learning is the name for a range of ways for learning to experience it and other realities through it.

In this article there are three key ideas, which I will introduce and then draw upon in order to critique the notion of community in higher education using Anderson’s insights into community, and to suggest implications for networked learning. First, actor-network theory is committed to ‘symmetrical analysis’, a principle which holds that the material and non-human elements of any network should be treated analytically in the same way as the social and human elements (Law, 1992). Second, the object of actor-network theory informed analyses is not to explain the size of any network, but rather to elucidate how any network grows in influence and/ or contracts — the analytical interest is to illuminate the processes, rather than explain end results, such as the size of a network at any point in time (Callon & Latour, 1981) ||
 * EASE of USE simplicity and Translation || Major design feature of new social software is simplicity and ease of use this is the invitation to ENROL mdes by tsoftware to people - this is carried by a number of software strategies one is the call to use needs to hide, automate or remove operational control sometimes one call implies the other call - so in TWITTER the call is for simplicity in use and the means easy messaging that is encourage by simplicity and brevity and double click

“The aim of science is to seek the simplest explanation of complex facts. We are apt to fall into the error of thinking that the facts are simple because simplicity is the goal of our quest. The guiding motto in the life of every natural philosopher should be “Seek simplicity and distrust it.” – Alfred North Whitehead

Explicit DON'T MAKE ME THINK simplify and remove variable controls just have one thing available and make it available in a way that requires minimum effort and so passes most of the control to the software to make most of the deciding or power/political choices

Ambivalence of DESIGN for learning equal efficiency and making design invisible or reducing or avoid Sweller and Clark cognitive load Downes so content is focus or the king and technology is transparent or disappears( as in Apple as quoted in interface design like but also about getting designers to develop code for you for free and making software open at least to coders that can see the open source code

But as Harman says never really look at things they recede Brown tries to solve the dilemma by doing what Harman would call overmining. We cannot look straight at the objects, only at the abstract concepts – history, society – that they are an instance of. The problem of this approach is the same “hot potato” problem that Harman accuses Latour for. That if we only see the relations, we never really arrive at something. The problem of causation for example is infinitely postponed. Latour would probably also be uncomfortable with Browns solution. Because what does it mean to say something about society, history, nature and culture? Are these abstraction also not constructed by actor-networks? And then we are back in the problem that we can’t look straight at them, neither through other objects.

- eventually become that are observable early on and that by implication by operation by their success tend to disappear as the software enrolls users || good technology is indistinguishable from magic || fhe multimodality of objects and that they could be described in a variety of ways. By “titrating” them (objects) using domains or categories – magic, religion, science, philosophy – he means that Simondon saw that objects are not necessarily a priori or things-in-themselves but instead are emergent technological items enmeshed in a particular type of technological genesis.... Occam’s razor is mentioned literally and metaphorically, in that Latour sees Simondon’s notion of tools as problematizing the one represented by Occam (the razor). Here, Occam’s razor is redefined and meant to be understood as the technique that involves the “activation” or “utilization” of all parts of the material – each of its modes of existence – rather than merely “cutting” through it along a predetermined angle. ||
 * ENROLL || enroll by seeking path of least resistance
 * Making things disappear Latour in modes of existence || “When informants insist on the nonexistence of certain beings, they make them proliferate, but when they emphasize—and so proudly!—the massive presence of other existents, we can scarcely make them out. This is the case with the beings of technology (noted [tec]). The transition from beings of magic and charms to beings of technology is by no means unheard-of; Gilbert Simondon had already broken the path in his book On the Mode of Existence of Technical Objects , a text as famous as it is little read. In passing from one mode to the other, we are going to add more depth to what has already been said more than once about the not-so-very material MATTER, that “idealism of materialism” of the Moderns. <span style="background-color: #ffffff; color: #555555; display: block; font-family: Bitter,Georgia,'Times New Roman',Times,serif; font-size: 13px; text-align: justify;">(p. 208-209)
 * Transformation and translation resist teh double click || <span style="background-color: #ffffff; color: #4d4d4d; display: block; float: none; font-family: 'Droid Sans',Arial,Verdana,sans-serif; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 20px; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Obviously, when you get a piece of information you know that it has been transformed pretty much, framed, selected, and that it’s the result of a long work of decision, of mediation, to use our term, and once it arrives as information it has been the result of a pretty great number of transformations. And that’s obvious about the media, everyone knows that. I mean, you would be a complete nitwit to believe that what you see on the screen is exactly what it is. For media we have a culture of resisting the idea of information without transformation, which is Double Click. ||
 * Anthropomorphism to counteract anthropocentrism in LARVAL SUBJECTS || <span style="background-color: #ffffff; color: #29303b; display: block; float: none; font-family: Georgia,Verdana,Arial,serif; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">I <span style="background-color: #ffffff; color: #29303b; display: block; font-family: Georgia,Verdana,Arial,serif; font-size: 12px; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">don’t <span style="background-color: #ffffff; color: #29303b; display: block; float: none; font-family: Georgia,Verdana,Arial,serif; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">ascribe <span style="background-color: #ffffff; color: #29303b; display: block; font-family: Georgia,Verdana,Arial,serif; font-size: 12px; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">teleology <span style="background-color: #ffffff; color: #29303b; display: block; float: none; font-family: Georgia,Verdana,Arial,serif; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">to all things. Indeed, I believe that teleology is even rather limited in the case of humans and social systems. Do I often speak of nonhuman objects as “doing” things, “wanting” things, “aiming” at things, and having goals? Absolutely. These anthropomorphisms– rife also in evolutionary theory, sociology, and Marxist thought –are not intended to suggest that things <span style="background-color: #ffffff; color: #29303b; display: block; font-family: Georgia,Verdana,Arial,serif; font-size: 12px; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">really <span style="background-color: #ffffff; color: #29303b; display: block; float: none; font-family: Georgia,Verdana,Arial,serif; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">have aims and purposes, but merely to draw attention to the contributions that nonhuman things make in the world and to us. They are designed to break the bad anthropocentric habit of treating nonhumans as passive stuffs upon which we project meanings and which merely obstruct us.

<span style="background-color: #ffffff; color: #29303b; display: block; font-family: Georgia,Verdana,Arial,serif; font-size: 12px; text-align: left;">In //<span style="background-color: #ffffff; color: #29303b; font-family: Georgia,Verdana,Arial,serif; font-size: 12px; text-align: left;">The Politics of Nature //Latour gives a succinct definition of what an actant is. As Latour puts it, actants are anything that “…modif[ies] other actors through a series of…” actions (75). Does the entity modify other entities, contributing something new to the assemblage that cannot be reduced to the other entities in the assemblage, or doesn’t it? If the entity does contribute something new to the assemblage, then it’s an actant. If it does not, then it’s not. It’s as simple as that. There is no weird teleology here that suggests that rocks, for example, have goals and aims. There is no suggestion here that street lamps really do want something. All that is to be attended to in the concept of actants is the manner in which they modify the action of other entities. <span style="background-color: #ffffff; color: #29303b; display: block; font-family: Georgia,Verdana,Arial,serif; font-size: 12px; text-align: left;"> <span style="background-color: #ffffff; color: #29303b; display: block; font-family: Georgia,Verdana,Arial,serif; font-size: 12px; text-align: left;"> <span style="background-color: #ffffff; color: #29303b; display: block; font-family: Georgia,Verdana,Arial,serif; font-size: 12px; text-align: left;"> || http://www.blay.se/2012/10/11/things/ || <span style="background-color: #ffffff; color: #333332; font-family: 'PT Serif',serif; font-size: 16px; text-align: start;">The word thing in this sense does not designate simply an object, not a solid lump of matter. It designates a sufficiently narrow space for action. “Get that thing”, “remove that thing”. It designates something operating in the background. “There is a thing about this open that I’ll never get” (Brown 5). “Do the right thing” – turn the current situation into the preferred one. ||
 * tALKING OR PARTICIPATING SUBSTANCES sCINENTIST SURPRISED LAVAL SUBJECTS || <span style="background: none repeat scroll 0% 0% white; color: #29303b; font-family: 'Georgia','serif'; font-size: 9pt; line-height: 115%;">A //<span style="font-family: 'Georgia','serif'; word-spacing: 0px;">surprising // result in a laboratory experiment. In the moment of surprise in a laboratory experiment a substance //<span style="font-family: 'Georgia','serif'; word-spacing: 0px;">other // than the scientists and theories rises forth and announces itself, effectively //<span style="font-family: 'Georgia','serif'; word-spacing: 0px;">participating // in the dialogue. It is not just the //<span style="font-family: 'Georgia','serif'; word-spacing: 0px;">scientists // that here participate in the dialogue, but the substance has said something //<span style="font-family: 'Georgia','serif'; word-spacing: 0px;">too // . This speaking is provoked, of course, by the scientists, but it has nothing to do with the scientists’ intentions or meanings. It participates in the dialogue in the sense of modifying everything within that dialogue. Does this entail that the substance //<span style="font-family: 'Georgia','serif'; word-spacing: 0px;">wanted // to speak, that it //<span style="font-family: 'Georgia','serif'; word-spacing: 0px;">intended // to speak, that it //<span style="font-family: 'Georgia','serif'; word-spacing: 0px;">demanded // to be heard? No, of course not. Nonetheless it does speak or announce something in the course of the experiment and is every bit as much a participant in the experiment as the scientists. Indeed, often the scientists would prefer that the substance //<span style="font-family: 'Georgia','serif'; word-spacing: 0px;">hadn’t // spoken as in many cases the “speech” of the substance can spell the ruin of their work. ||
 * bLOG AS ACTANT LARVAL SUBJECTS || <span style="background-color: #ffffff; color: #29303b; display: block; float: none; font-family: Georgia,Verdana,Arial,serif; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Most reasonable people, <span style="background-color: #ffffff; color: #29303b; display: block; font-family: Georgia,Verdana,Arial,serif; font-size: 12px; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">in their day to day activity <span style="background-color: #ffffff; color: #29303b; display: block; float: none; font-family: Georgia,Verdana,Arial,serif; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">, would readily concede that entities <span style="background-color: #ffffff; color: #29303b; display: block; font-family: Georgia,Verdana,Arial,serif; font-size: 12px; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">do <span style="background-color: #ffffff; color: #29303b; display: block; float: none; font-family: Georgia,Verdana,Arial,serif; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">things or modify the behavior of <span style="background-color: #ffffff; color: #29303b; display: block; font-family: Georgia,Verdana,Arial,serif; font-size: 12px; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">us <span style="background-color: #ffffff; color: #29303b; display: block; float: none; font-family: Georgia,Verdana,Arial,serif; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">and other entities in all sorts of ways. My blog is an actant for me– and hopefully for others! –in the sense that it modifie(s)(d) my actions in all sorts of ways. With the blog, a whole set of goals, ordinary values, aims, and practices emerged that weren’t a part of my daily activity before. It’s no exaggeration to say that the blog fundamentally changed the very nature of my thought. Of course, the term “blog” here is shorthand for a variety of actants ranging from surprising remarks that appear in my comment section, posts that appear on other blogs, the software that constrains and affords the nature of my writing in a variety of ways, the temporality of blogs or the particular pace at which discussion here unfolds, the encounters with others that have taken place, the technologies I use to blog (blogging is very different depending on whether I’m using my phone, my iPad, or my laptop), etc. ||
 * <span style="background-color: #ffffff; color: #333333; font-family: Georgia,'Bitstream Charter',serif; font-size: 16px; text-align: start;"> Symmetry in TWITTER || <span style="-webkit-text-stroke-width: 0px; background-color: #ffffff; color: #333333; display: inline !important; float: none; font-family: Georgia,'Bitstream Charter',serif; font-size: 16px; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 24px; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">//The study also draws on the notion of symmetry in ANT to explore the impact of non-human elements may actively ‘participate’ in the shaping of the discussion event (Fenwick & Edwards 2010). For example, the way that Twitter applications aggregate, organise and present Twitter ‘streams’, arguably shape how Twitter chats are structured and “consumed” as well as contributing to the inclusive and exclusive nature of the discussion exchanges and sequences (Fox 2005).// ||
 * THings
 * Simplicity of the Double Click on Occams razor reduction to simplicity || <span style="background-color: #ffffff; color: #555555; display: block; font-family: Bitter,Georgia,'Times New Roman',Times,serif; font-size: 13px; text-align: justify;">Simondon’s book

<span style="background-color: #ffffff; color: #dd5424; display: block; font-family: Bitter,Georgia,'Times New Roman',Times,serif; font-size: 13px; text-align: justify; text-decoration: none;">[|//On the Mode of Existence of Technical Objects//]

<span style="background-color: #ffffff; color: #545454; display: block; font-family: arial,sans-serif; font-size: 13px; text-align: left;">Double Click <span style="background-color: #ffffff; color: #545454; display: block; font-family: arial,sans-serif; font-size: 13px; text-align: left;">is essentially <span style="background-color: #ffffff; color: #545454; display: block; font-family: arial,sans-serif; font-size: 13px; text-align: left;">Latour's <span style="background-color: #ffffff; color: #545454; display: block; font-family: arial,sans-serif; font-size: 13px; text-align: left;">term for “perfect” information (there is no || <span style="background-color: #ffffff; color: #555555; display: block; font-family: Bitter,Georgia,'Times New Roman',Times,serif; font-size: 13px; text-align: justify;">including his rather funny “Double Click” || <span style="background-color: #ffffff; color: #555555; display: block; font-family: Bitter,Georgia,'Times New Roman',Times,serif; font-size: 13px; text-align: justify;">Double Click is essentially Latour’s term for “perfect” information (there is no such thing). The pretense to Double Click and its actual negative effects are something that Latour sees as blurring our picture of the “zigzag” of technological evolution. We posit equivalences where there are none and we graft informational models in the wrong places, and Latour sees this as having an obfuscating effect. The other problem he mentions is that we are stuck on looking at the “objects” of technology, rather than on their genesis. Latour wants to separate technical objects from technology per se, or technics. || <span style="background-color: #ffffff; color: #555555; display: block; font-family: Bitter,Georgia,'Times New Roman',Times,serif; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 22px; margin: 0px 0px 1.69231em; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">I like to imagine that Latour is offering that we switch from episteme to techne. I’ve recently written on this switch [|here]. Episteme is constantly going off course, and we need to learn to accept these “happy” detours, to learn that they are part and parcel of technological evolution. Technology, then, should be not just a noun but a way of being, a verb, one that accounts for these detours in being and materiality. In this sense technology is alterity, it is not an object but a “difference” and a “being-as-other.” This detour is perhaps what Simondon would have called “individuation.” Latour lines a Tardean notion up with Simondon. He asks what is the “avidity” of technological evolution. The takeaway is that technology modifies logic. <span style="background-color: #ffffff; color: #555555; display: block; font-family: Bitter,Georgia,'Times New Roman',Times,serif; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 22px; margin: 0px 0px 1.69231em; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">6. “To convince ourselves of this, all we have to do is look around. If you begin to think about the materials that went into the objects that surround you, you have to think in terms of many metamorphoses. The stones of which your house is built lay in a distant quarry; the wood in your teak furniture was doing its thing somewhere in Indonesia; the sand from which your crystal vase is made was sleeping deep in some river valley; the hammock where you are snoozing as you read this book was still wool on the back of a sheep; and so on. Yes, there is magic in technology— || Every twenty minutes Facebook adds more ‘stuff’ to its collection:  1 million links  1.4 million event invites  1.9 million friends requests accepted  2.7 million photos, 1.3 million of which are tagged  2.7 million messages sent CAPLAN • SOFTWARE TUNNELS ** CM ** 14 • 2013 www.culturemachine.net • 3  1.89 million status updates  1.6 million wall posts  10.2 million comments 1 This digital ‘stuff’ is housed in at least 9 leased data centres or server farms, each around 35,000 square feet and consuming between 2.25 and 6 megawatts of power. Facebook is currently building its own 307,000 square feet centre with 60,000 servers and operating costs in the order of $50m a year. 2 Google is notoriously secretive about its hoard of data. What we do know is that it spent $757 million on its seven data centres in the third quarter of 2010 and that those centres process twenty petabytes of data a day. 3 Google’s data hoard, like Facebook’s includes our digital detritus - our email messages, our YouTube videos, our Picasa pictures and Blogger postings as well as 1 trillion cached webpages. Those farms also house the digital footprints we leave as we use Google’s services - our logins, IP addresses, search terms and histories, maybe our credit card details in Google checkout and records of the ads we clicked, the times and journeys we made. Google of course claims to ‘forget’ data after between 9-18 months and even denies it does data-mining. 4 One could list other digital hoarders: Apple and its iPhone logs, Amazon and its traces of collaborative filtering choices, Sony and its misplaced Playstation 3 stuff. **<span style="font-family: 'GillSans-BoldCondensed','sans-serif'; font-size: 18pt; line-height: 115%;">x ** || <span style="background-color: #ffffff; color: #333333; font-family: Georgia,'Bitstream Charter',serif; font-size: 16px; text-align: start;">approach that follows following through case-orientated research design using Discourse Analysis. Actor Network Theory (ANT) (Latour 2005) provides a “lens” for the interpretation of the discursive data. Given my focus on interactive digital environments that can be labelled as Web 2.0, a practice-based approach that is concerned with the complex interrelations between people, artefacts, language, collaboration and control seemed appropriate (Nicolini et al 2003; Guzman 2009; Geiger 2009). || SURVEY QUANTITATIVE INTEREST IN LEVELS OF SATISFACTION POSITIVE ATTITUDES AS MEASURED IN A LIKHART SCALE OF HIGH TO LOW LEVELS OF PERCEIVED SATISFACTION || <span style="background-color: #ffffff; color: #000000; font-family: Arial,'Lucida Grande',Geneva,Verdana,Helvetica,'Lucida Sans Unicode',sans-serif; font-size: 12px; text-align: start;">encouraged to use Twitter to communicate with their tutor and each other and were later asked to evaluate this experience by completing a short survey. This approach was taken to both understand and improve the students' experience during a real course. Although distinct, the design thus has some characteristics in common with what has been referred to as “action research” (Argyris, Putnam & Smith, __<span style="color: #007e8a; font-family: Arial,'Lucida Grande',Geneva,Verdana,Helvetica,'Lucida Sans Unicode',sans-serif; font-size: 12px; text-align: start; vertical-align: baseline;">[|1985] __<span style="background-color: #ffffff; color: #000000; font-family: Arial,'Lucida Grande',Geneva,Verdana,Helvetica,'Lucida Sans Unicode',sans-serif; font-size: 12px; text-align: start;">; Coghlan & Brannick, __<span style="color: #007e8a; font-family: Arial,'Lucida Grande',Geneva,Verdana,Helvetica,'Lucida Sans Unicode',sans-serif; font-size: 12px; text-align: start; vertical-align: baseline;">[|2010] __<span style="background-color: #ffffff; color: #000000; font-family: Arial,'Lucida Grande',Geneva,Verdana,Helvetica,'Lucida Sans Unicode',sans-serif; font-size: 12px; text-align: start;">; Schein, __<span style="color: #007e8a; font-family: Arial,'Lucida Grande',Geneva,Verdana,Helvetica,'Lucida Sans Unicode',sans-serif; font-size: 12px; text-align: start; vertical-align: baseline;">[|1999] __<span style="background-color: #ffffff; color: #000000; font-family: Arial,'Lucida Grande',Geneva,Verdana,Helvetica,'Lucida Sans Unicode',sans-serif; font-size: 12px; text-align: start;">). It considers a real-world teaching situation rather than an artificial setup, it involves the students as active research participants, and it aims to bring about change rather than just make observations. Chris Evans Twitter for teaching: Can social media be used to enhance the process of learning? British Journal of Educational Technology [|Volume 45, Issue 5,] pages 902–915, September 2014
 * DOUBLE CLICK
 * Latours magic in technology || <span style="background-color: #ffffff; color: #555555; display: block; font-family: Bitter,Georgia,'Times New Roman',Times,serif; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 22px; margin: 0px 0px 1.69231em; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">If the investigator is determined to speak of invisibles, it is not owing to a taste for the irrational, it is in order to follow the thread of this labyrinth rationally—the real labyrinth, the one that the architect Daedalos built for Minos. If nothing in technology goes in a straight line, it is because the logical course—that of the //episteme//—is always interrupted, deflected, modified, and because in following it one goes from displacement to deviation: in Greek, a//daedalion// is an ingenious detour away from the direct route. This is what we mean, quite banally, when we assert that there is a “technological problem,” an obstacle, a snag, a bug; this is what we are referring to when we say of someone that “he’s the only one with the technical ability” to solve a given problem: “he has what it takes,” “he has the knack.” We need to see “TECHNIQUE” and “TECHNOLOGY” not in their noun forms but as adjectives (“that’s a technical issue”), adverbs (“that’s technically/ technologically feasible”), even sometimes, though less often, in verb form (“to technologize”). In other words, “technology” does not designate an object but rather a difference, an entirely new exploration of being-as-other, a new declension of alterity. Simondon, too, made fun of substantialism, which, here again, here as always, failed to grasp the technological being. To borrow from Tarde one of the fine words that he opposed to the exclusive search for //identity//: what is the//avidity// proper to the mode of technological existence?” (p. 223).
 * LATOUR's Digital vs analogue || <span style="background-color: #ffffff; color: #666666; font-family: 'Trebuchet MS',Trebuchet,Verdana,sans-serif; font-size: 13.2px; text-align: start;">I do not believe that computers are abstract... there is (either) 0 and (or) 1 has absolutely no connection with the abstractness. It is actually very concrete, never 0 and 1 (at the same time)... There is only transformation. Information as something which will be carried through space and time, without deformation, is a complete myth. People who deal with the technology will actually use the practical notion of transformation. From the same bytes, in terms of 'abstract encoding', the output you get is entirely different, depending on the medium you use. Down with information (Lovink and Schultz 1997). ||
 * ICEBURG of digital specificity of digital traces of digital || <span style="-webkit-text-stroke-width: 0px; background-color: #ffffff; color: #666666; display: inline !important; float: none; font-family: 'Trebuchet MS',Trebuchet,Verdana,sans-serif; font-size: 13.1999998092651px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 12.3199996948242px; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">Latour moves to cement his switch by making the entirely reasonable claim that the digital lies within a socio-technical environment, and that the way to study the digital is therefore to identify //<span style="-webkit-text-stroke-width: 0px; background-color: #ffffff; color: #666666; font-family: 'Trebuchet MS',Trebuchet,Verdana,sans-serif; font-size: 13.1999998092651px; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 12.3199996948242px; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">what is observable of the digital //<span style="-webkit-text-stroke-width: 0px; background-color: #ffffff; color: #666666; display: inline !important; float: none; font-family: 'Trebuchet MS',Trebuchet,Verdana,sans-serif; font-size: 13.1999998092651px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 12.3199996948242px; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">. This he claims are "segments of trajectories through distributed sets of material practice only some of which are made visible through digital traces", thus he claims the digital is //<span style="-webkit-text-stroke-width: 0px; background-color: #ffffff; color: #666666; font-family: 'Trebuchet MS',Trebuchet,Verdana,sans-serif; font-size: 13.1999998092651px; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 12.3199996948242px; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">digital //<span style="-webkit-text-stroke-width: 0px; background-color: #ffffff; color: #666666; display: inline !important; float: none; font-family: 'Trebuchet MS',Trebuchet,Verdana,sans-serif; font-size: 13.1999998092651px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 12.3199996948242px; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;"> less as a domain and more as a set of practices. This approach to studying the digital is, of course, completely acceptable, providing one is cognisant of the way in which the digital in our post-digital world resembles the structure of an iceberg, with only a small part ever visible to everyday life – even to empirical researchers (see diagram above). Otherwise, ethnographic approaches which //<span style="-webkit-text-stroke-width: 0px; background-color: #ffffff; color: #666666; font-family: 'Trebuchet MS',Trebuchet,Verdana,sans-serif; font-size: 13.1999998092651px; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 12.3199996948242px; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">a priori //<span style="-webkit-text-stroke-width: 0px; background-color: #ffffff; color: #666666; display: inline !important; float: none; font-family: 'Trebuchet MS',Trebuchet,Verdana,sans-serif; font-size: 13.1999998092651px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 12.3199996948242px; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;"> declare the abstractness of the digital as a research environment illegitimate, lose the very specificity of the digital that their well-meaning attempt to capture the materiality of the digital calls for. Indeed, the way in which the digital through complex processes of abstraction is then able to provide mediators to and interfaces over the material is one of the key research questions to be unpacked when attempting to get a handle on the increasing proliferation of the digital into "real" spaces. ||
 * Its not real stuff real material it just data and code || Latour in digital humanities thinks it is so real its analogue and uses up a lot of power Facebook and google are hoarding data but they need
 * METHOD || <span style="background-color: #ffffff; color: #333333; font-family: Georgia,'Bitstream Charter',serif; font-size: 16px; text-align: start;">The research uses Actor Network Theory as a sociomaterial and practice based
 * Using Terri Thompson Interviewing objects as a method not a methodology but also agreeing with Latour || <span style="background-color: #ffffff; color: #555555; display: block; float: none; font-family: Bitter,Georgia,'Times New Roman',Times,serif; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 22px; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">What is interesting, in the case of technology, is that this zigzag that ought to be so easy to grasp, given that the experience is so common, in fact totally disappears, for two related reasons: the habitual ravages of Double Click on the one hand and on the other the confusion that is always made between technology, or the technical, and the things left in its wake. Contrary to the title of Simondon’s book, it isn’t the mode of existence of the technological <span style="background-color: #ffffff; color: #555555; display: block; font-family: Bitter,Georgia,'Times New Roman',Times,serif; font-size: 13px; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 22px; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">object <span style="background-color: #ffffff; color: #555555; display: block; float: none; font-family: Bitter,Georgia,'Times New Roman',Times,serif; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 22px; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">that we must address but the mode of existence of technology, of <span style="background-color: #ffffff; color: #555555; display: block; font-family: Bitter,Georgia,'Times New Roman',Times,serif; font-size: 13px; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 22px; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">technological beings <span style="background-color: #ffffff; color: #555555; display: block; float: none; font-family: Bitter,Georgia,'Times New Roman',Times,serif; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 22px; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">themselves. (Let us recall that, in this inquiry, we are shifting from the question “What is the <span style="background-color: #ffffff; color: #555555; display: block; font-family: Bitter,Georgia,'Times New Roman',Times,serif; font-size: 13px; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 22px; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">being <span style="background-color: #ffffff; color: #555555; display: block; float: none; font-family: Bitter,Georgia,'Times New Roman',Times,serif; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 22px; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">or the <span style="background-color: #ffffff; color: #555555; display: block; font-family: Bitter,Georgia,'Times New Roman',Times,serif; font-size: 13px; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 22px; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">identity <span style="background-color: #ffffff; color: #555555; display: block; float: none; font-family: Bitter,Georgia,'Times New Roman',Times,serif; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 22px; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">of X or Y?” into a different question: “**How are we to address** <span style="background-color: #ffffff; color: #555555; display: block; font-family: Bitter,Georgia,'Times New Roman',Times,serif; font-size: 13px; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 22px; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">beings <span style="background-color: #ffffff; color: #555555; display: block; float: none; font-family: Bitter,Georgia,'Times New Roman',Times,serif; font-size: 13px; font-style: normal; font-variant: normal; letter-spacing: normal; line-height: 22px; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">or alterities, the <span style="background-color: #ffffff; color: #555555; display: block; font-family: Bitter,Georgia,'Times New Roman',Times,serif; font-size: 13px; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 22px; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">alterations <span style="background-color: #ffffff; color: #555555; display: block; float: none; font-family: Bitter,Georgia,'Times New Roman',Times,serif; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 22px; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">**X or Y**?”). (p. 217-218). ||
 * othER SCHOLARS METHODS

<span style="background-color: #ffffff; color: #000000; font-family: Arial,'Lucida Grande',Geneva,Verdana,Helvetica,'Lucida Sans Unicode',sans-serif; font-size: 12px; text-align: start;">determine how the amount of Twitter usage relates to aspects of the learning process. The interest was in quantitative aspects of Twitter usage rather than qualitative features such as type of tweets.

<span style="background-color: #ffffff; color: #000000; font-family: Arial,'Lucida Grande',Geneva,Verdana,Helvetica,'Lucida Sans Unicode',sans-serif; font-size: 12px; text-align: start;">The question of interest was whether the amount of Twitter usage would exhibit a positive relationship with the student experience. || <span style="background-color: #ffffff; color: #2e2e2e; display: block; font-family: 'Arial Unicode MS','Arial Unicode',Arial,'URW Gothic L',Helvetica,Tahoma,'Cambria Math',sans-serif; font-size: 13.3333px; text-align: justify;">Educational researchers have employed various conceptual lenses to look at questions of individual and social learning in contemporary online learning environments. Researchers such as<span style="color: #316c9d; font-family: 'Arial Unicode MS','Arial Unicode',Arial,'URW Gothic L',Helvetica,Tahoma,'Cambria Math',sans-serif; font-size: 13.3333px; text-decoration: none; vertical-align: baseline;">[|Henning (2004)] have highlighted the interactional aspects of social learning to explain how knowledge is constructed while individuals undertake various activities that require engaging with and responding to others. Such interactions, as argued by<span style="color: #316c9d; font-family: 'Arial Unicode MS','Arial Unicode',Arial,'URW Gothic L',Helvetica,Tahoma,'Cambria Math',sans-serif; font-size: 13.3333px; text-decoration: none; vertical-align: baseline;">[|Hill et al. 2009, p. 89], have the potential to develop cohesive communities of learners. <span style="background-color: #ffffff; color: #2e2e2e; display: block; font-family: 'Arial Unicode MS','Arial Unicode',Arial,'URW Gothic L',Helvetica,Tahoma,'Cambria Math',sans-serif; font-size: 13.3333px; text-align: justify;"> <span style="background-color: #ffffff; color: #2e2e2e; display: block; font-family: 'Arial Unicode MS','Arial Unicode',Arial,'URW Gothic L',Helvetica,Tahoma,'Cambria Math',sans-serif; font-size: 13.3333px; text-align: justify;"><span style="background-color: #ffffff; color: #2e2e2e; font-family: 'Arial Unicode MS','Arial Unicode',Arial,'URW Gothic L',Helvetica,Tahoma,'Cambria Math',sans-serif; font-size: 13.3333px; text-align: justify; vertical-align: baseline;"><span style="color: #316c9d; font-family: 'Arial Unicode MS','Arial Unicode',Arial,'URW Gothic L',Helvetica,Tahoma,'Cambria Math',sans-serif; font-size: 13.3333px; text-decoration: none; vertical-align: baseline;">[|Westberry and Franken (2013)] used an “ecology of resources” model to interpret university students' accounts of online learning, determining the resources required to produce social interaction of a type that guaranteed learning would occur. In their review of the field, <span style="color: #316c9d; font-family: 'Arial Unicode MS','Arial Unicode',Arial,'URW Gothic L',Helvetica,Tahoma,'Cambria Math',sans-serif; font-size: 13.3333px; text-decoration: none; vertical-align: baseline;">[|Salomon and Perkins (1998)] put forward three ways of understanding the relationship: <span style="background-color: #ffffff; color: #2e2e2e; font-family: 'Arial Unicode MS','Arial Unicode',Arial,'URW Gothic L',Helvetica,Tahoma,'Cambria Math',sans-serif; font-size: 13.3333px; text-align: start; vertical-align: baseline;">1.Individual learning can be less or more socially mediated learning.2.Individuals can participate in the learning of a collective, sometimes with what is learned distributed throughout the collective more than in the mind of any one individual.3.1 and 2 can interact over time to strengthen one another. <span style="background-color: #ffffff; color: #2e2e2e; display: block; font-family: 'Arial Unicode MS','Arial Unicode',Arial,'URW Gothic L',Helvetica,Tahoma,'Cambria Math',sans-serif; font-size: 13.3333px; text-align: justify;">As <span style="color: #316c9d; font-family: 'Arial Unicode MS','Arial Unicode',Arial,'URW Gothic L',Helvetica,Tahoma,'Cambria Math',sans-serif; font-size: 13.3333px; text-decoration: none; vertical-align: baseline;">[|Petreski et al. (2011)] argue, technology-enabled social learning reflects a shift in pedagogical focus from the design of learning content to the ways in which this content is co-created and shared (<span style="color: #316c9d; font-family: 'Arial Unicode MS','Arial Unicode',Arial,'URW Gothic L',Helvetica,Tahoma,'Cambria Math',sans-serif; font-size: 13.3333px; text-decoration: none; vertical-align: baseline;">[|Petreski et al., 2011] ), thus opening up questions about the potential for SMTs to lead to the production of various kinds of collective intelligence. Collective intelligence has been defined as a form of intellectual engagement and cooperation between human collectives that can lead to creativity, innovation and invention (<span style="background-color: #ffffff; color: #316c9d; font-family: 'Arial Unicode MS','Arial Unicode',Arial,'URW Gothic L',Helvetica,Tahoma,'Cambria Math',sans-serif; font-size: 13.3333px; text-align: justify; text-decoration: none; vertical-align: baseline;">[|Lévy, 1997][|Lévy, 2010][|Surowiecki, 2004] and<span style="background-color: #ffffff; color: #316c9d; font-family: 'Arial Unicode MS','Arial Unicode',Arial,'URW Gothic L',Helvetica,Tahoma,'Cambria Math',sans-serif; font-size: 13.3333px; text-align: justify; text-decoration: none; vertical-align: baseline;">[|Tovey, 2008] ). Researchers such as<span style="color: #316c9d; font-family: 'Arial Unicode MS','Arial Unicode',Arial,'URW Gothic L',Helvetica,Tahoma,'Cambria Math',sans-serif; font-size: 13.3333px; text-decoration: none; vertical-align: baseline;">[|Lévy (2010)] highlight the importance of communication media and “human-centric social computing” (<span style="color: #316c9d; font-family: 'Arial Unicode MS','Arial Unicode',Arial,'URW Gothic L',Helvetica,Tahoma,'Cambria Math',sans-serif; font-size: 13.3333px; text-decoration: none; vertical-align: baseline;">[|Lévy, 2010, p. 93] ) practices such as social tagging through the use of blogs, wikis and other forms of SMTs in the development of a culture-driven collective memory, which in turn claims Lévy, will play a major role in the shaping of personal and cognitive abilities.<span style="color: #316c9d; font-family: 'Arial Unicode MS','Arial Unicode',Arial,'URW Gothic L',Helvetica,Tahoma,'Cambria Math',sans-serif; font-size: 13.3333px; text-decoration: none; vertical-align: baseline;">[|Lévy (2010, p. 72)] further asserts, that the invention of different kinds of digital social media, which facilitate the sharing of unlimited amounts of data that represent the cultural output of infinite numbers of past and present communities, is likely therefore not only to impact on the cognitive abilities of individuals, but also to lay the foundations for the evolution of various forms and expressions of collective intelligence || = = Chris Evans Twitter for teaching: Can social media be used to enhance the process of learning? British Journal of Educational Technology [|Volume 45, Issue 5,] pages 902–915, September 2014 || <span style="background-color: #ffffff; color: #000000; font-family: Arial,'Lucida Grande',Geneva,Verdana,Helvetica,'Lucida Sans Unicode',sans-serif; font-size: 12px; text-align: start;">Prior to the development of social media, the dominant learning theories were behaviourism, cognitivism and constructivism. According to Siemens ( __<span style="color: #007e8a; font-family: Arial,'Lucida Grande',Geneva,Verdana,Helvetica,'Lucida Sans Unicode',sans-serif; font-size: 12px; text-align: start; vertical-align: baseline;">[|2005] __<span style="background-color: #ffffff; color: #000000; font-family: Arial,'Lucida Grande',Geneva,Verdana,Helvetica,'Lucida Sans Unicode',sans-serif; font-size: 12px; text-align: start;">), the limitation of these theories is that they all posit an individualistic notion of learning. By this is meant that despite their differences, all theories consider knowledge to be located in individuals. According to Siemens, even social constructivism is individualistic: although knowledge is constructed through the process of an individual's interactions within a group, it remains located in the minds of those individuals. || Chris Evans Twitter for teaching: Can social media be used to enhance the process of learning? British Journal of Educational Technology [|Volume 45, Issue 5,] pages 902–915, September 2014 || <span style="background-color: #ffffff; color: #000000; font-family: Arial,'Lucida Grande',Geneva,Verdana,Helvetica,'Lucida Sans Unicode',sans-serif; font-size: 12px; text-align: start;">Connectivism (Siemens, __<span style="color: #007e8a; font-family: Arial,'Lucida Grande',Geneva,Verdana,Helvetica,'Lucida Sans Unicode',sans-serif; font-size: 12px; text-align: start; vertical-align: baseline;">[|2005] __<span style="background-color: #ffffff; color: #000000; font-family: Arial,'Lucida Grande',Geneva,Verdana,Helvetica,'Lucida Sans Unicode',sans-serif; font-size: 12px; text-align: start;">), by contrast, is based on the premise that knowledge exists in the world rather than in the mind of an individual. The theory was developed in an attempt to take account of the impact of the information revolution and the shift in importance from what an individual //<span style="color: #000000; font-family: Arial,'Lucida Grande',Geneva,Verdana,Helvetica,'Lucida Sans Unicode',sans-serif; font-size: 12px; text-align: start; vertical-align: baseline;">knows // <span style="background-color: #ffffff; color: #000000; font-family: Arial,'Lucida Grande',Geneva,Verdana,Helvetica,'Lucida Sans Unicode',sans-serif; font-size: 12px; text-align: start;">to what an individual //<span style="color: #000000; font-family: Arial,'Lucida Grande',Geneva,Verdana,Helvetica,'Lucida Sans Unicode',sans-serif; font-size: 12px; text-align: start; vertical-align: baseline;">knows how to find out // <span style="background-color: #ffffff; color: #000000; font-family: Arial,'Lucida Grande',Geneva,Verdana,Helvetica,'Lucida Sans Unicode',sans-serif; font-size: 12px; text-align: start;">through the connections they have created. As Stephenson ( __<span style="color: #007e8a; font-family: Arial,'Lucida Grande',Geneva,Verdana,Helvetica,'Lucida Sans Unicode',sans-serif; font-size: 12px; text-align: start; vertical-align: baseline;">[|1998] __<span style="background-color: #ffffff; color: #000000; font-family: Arial,'Lucida Grande',Geneva,Verdana,Helvetica,'Lucida Sans Unicode',sans-serif; font-size: 12px; text-align: start;">) characterised it: “I store my knowledge in my friends.” This reflects the fact that people increasingly operate and make decisions not on the basis of what they know but what they can find out when they so need
 * LIT REVIEW || <span style="background-color: #ffffff; color: #2e2e2e; display: block; font-family: 'Arial Unicode MS','Arial Unicode',Arial,'URW Gothic L',Helvetica,Tahoma,'Cambria Math',sans-serif; font-size: 13.3333px; text-align: justify;">How social are social media technologies (SMTs)? A linguistic analysis of university students' experiences of using SMTs for learnin <span style="color: #316c9d; font-family: 'Arial Unicode MS','Arial Unicode',Arial,'URW Gothic L',Helvetica,Tahoma,'Cambria Math',sans-serif; font-size: 13.3333px; text-decoration: none; vertical-align: baseline;">[|Celia Thompson][|a] <span style="font-family: 'Arial Unicode MS','Arial Unicode',Arial,'URW Gothic L',Helvetica,Tahoma,'Cambria Math',sans-serif; font-size: 9.33333px; vertical-align: super;">, <span style="color: #316c9d; font-family: 'Arial Unicode MS','Arial Unicode',Arial,'URW Gothic L',Helvetica,Tahoma,'Cambria Math',sans-serif; font-size: 13.3333px; text-decoration: none; vertical-align: baseline;">[| Kathleen Gray][|b] <span style="font-family: 'Arial Unicode MS','Arial Unicode',Arial,'URW Gothic L',Helvetica,Tahoma,'Cambria Math',sans-serif; font-size: 9.33333px; vertical-align: super;">, <span style="color: #316c9d; font-family: 'Arial Unicode MS','Arial Unicode',Arial,'URW Gothic L',Helvetica,Tahoma,'Cambria Math',sans-serif; font-size: 13.3333px; text-decoration: none; vertical-align: baseline;">[|1] <span style="font-family: 'Arial Unicode MS','Arial Unicode',Arial,'URW Gothic L',Helvetica,Tahoma,'Cambria Math',sans-serif; font-size: 9.33333px; vertical-align: super;">, ,<span style="color: #316c9d; font-family: 'Arial Unicode MS','Arial Unicode',Arial,'URW Gothic L',Helvetica,Tahoma,'Cambria Math',sans-serif; font-size: 13.3333px; text-decoration: none; vertical-align: baseline;">[|Hyejeong Kim][|a] ,
 * LIturature attitude to the power or the issue of the material acting as a participant shifting the role of tutor - shifting power relations - that encourage "better" learning practice because gives learner opportunity to participate rather than be directed that encourages engagement and the learning in is thought that it may possible cater for individual differences mainly in terms of convenience of when and not so much what because that is the content individualised to the extent that the user feels like they have some control = so is control a learning component. || Turkle has raised issues of power in relation to the new technologies supporting networked learning, drawing upon Foucault in discussing the role of teachers in higher education. She claims Foucault argues that ‘power in modern society is imposed not by the personal presence and brute force of an elite caste but by the way each individual learns the art of self-surveillance’ (Turkle, 1996, p. 247). Whilst the craft-model of teaching is dependent upon the personal presence—if not brute force—of a teacher in higher education, the ‘guide on the side’ involved in networked learning is also dependent upon the ‘personal presence’ of a teacher. The process of learning self-surveillance may even be more effective when insinuated by an apparently egalitarian guide at one’s side: ‘We learn to see ourselves from a teacher’s or a therapist’s point of view, even in their absence’ (p. 248). Turkle raises the extent to which panoptic power relations change at all in the networked society or in networked learning specifically. Addressing the shift in the tutor’s role occasioned by networked learning, Scrimshaw (2001, pp. 142–143), on the other hand, argues that certain forms of networked learning do alter the tutor’s function or role, suggesting that the computer can prove useful as a catalyst for radical educational change by giving more control to the learner over the learning process. Also, he suggests that when the ‘Information Superhighway’ arrives it will link 20 million people worldwide, enabling them to access each other and the databases that each is prepared to make available to the others. ||
 * Change in teachers through to a constrast with older styles of learning and teaching brought on or coincidenal with the introduction of digital technologies || Trilling and Hood (2001) provide an upbeat assessment of the new ‘knowledge age’. They distinguish the Industrial Age from the Knowledge Age, contrasting the teacheras-director with the teacher-as-facilitator, and teacher-as-knowledge-source with teacher-as-co-learner; then adding a number of related contrasts, including: fact-based vs. project- or problem-based; theoretical-abstract vs. real-world, concrete actions; competitive vs. collaborative; classroom-focused vs. community focused (p. 17). Like Mason and Kaye (1990) a decade earlier, they conclude: ‘we are clearly looking at a paradigm shift in educational practice’ (Trilling & Hood, 2001, p. 16). Yet they also suggest that ‘systemic reform’ is difficult when the older paradigm tends to re-absorb the new order, arguing that ‘the small advances we make in changing our methods eventually slip back into old and familiar Industrial Age habits’ (p. 17). This echoes Dewey’s criticism of the forces of repression and reaction, suggesting that they recognize the persistence of the older dyadic model: teacher/student, controller/controlled. ||
 * INDIVIDUAL CENTRED PEDAGOGIES
 * INDIVIDUAL CENTRED PEDAGOGIES
 * CONNECTIVISM and KNOWLEDGE IN world not in heAD

<span style="background-color: #ffffff; color: #000000; font-family: Arial,'Lucida Grande',Geneva,Verdana,Helvetica,'Lucida Sans Unicode',sans-serif; font-size: 12px; text-align: start;">Connectivism implies that technologies that facilitate connections between people and information resources should enhance learning because knowledge is a product of these connections rather than simply what is in the head of the learner. Twitter is one such technology allowing learners to connect with each other, with tutors and with other information resources. || range of cross-disciplinary studies have started to point to the work of code, algorithms and standards in selecting and shaping the information, forms of knowledge and modes of interaction available to teachers and students. Concerns have been raised about how data is selected, shaped and represented by software in ways which are not always apparent to those using computer technologies. || <span style="background-color: #ffffff; color: #2e2e2e; display: block; float: none; font-family: 'Arial Unicode MS','Arial Unicode',Arial,'URW Gothic L',Helvetica,Tahoma,'Cambria Math',sans-serif; font-size: 13.3333px; font-style: normal; font-variant: normal; font-weight: 100; letter-spacing: normal; line-height: 20px; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: -1.03561px;">. || <span style="color: #000000; font-family: '�helvetica neue�',helvetica,arial,sans-serif; font-size: 15px; text-align: start; vertical-align: baseline;">** Latour made up a new brand of Sociology called relativistic or relationist **, which main characteristic is to stick in the boundaries proposed by the informants:// How to frame a technological investigation? By sticking to the frame work and the li mits indicated by the interviewees themselves. //(page 18)
 * SOFTWARE CODE ALGORITHMS Data || a
 * Individuals remain individuals || <span style="background-color: #ffffff; color: #2e2e2e; display: block; font-family: 'Arial Unicode MS','Arial Unicode',Arial,'URW Gothic L',Helvetica,Tahoma,'Cambria Math',sans-serif; font-size: 13.3333px; text-align: justify;">How social are social media technologies (SMTs)? A linguistic analysis of university students' experiences of using SMTs for learnin <span style="color: #316c9d; font-family: 'Arial Unicode MS','Arial Unicode',Arial,'URW Gothic L',Helvetica,Tahoma,'Cambria Math',sans-serif; font-size: 13.3333px; text-decoration: none; vertical-align: baseline;">[|Celia Thompson][|a] <span style="font-family: 'Arial Unicode MS','Arial Unicode',Arial,'URW Gothic L',Helvetica,Tahoma,'Cambria Math',sans-serif; font-size: 9.33333px; vertical-align: super;">, <span style="color: #316c9d; font-family: 'Arial Unicode MS','Arial Unicode',Arial,'URW Gothic L',Helvetica,Tahoma,'Cambria Math',sans-serif; font-size: 13.3333px; text-decoration: none; vertical-align: baseline;">[| Kathleen Gray][|b] <span style="font-family: 'Arial Unicode MS','Arial Unicode',Arial,'URW Gothic L',Helvetica,Tahoma,'Cambria Math',sans-serif; font-size: 9.33333px; vertical-align: super;">, <span style="color: #316c9d; font-family: 'Arial Unicode MS','Arial Unicode',Arial,'URW Gothic L',Helvetica,Tahoma,'Cambria Math',sans-serif; font-size: 13.3333px; text-decoration: none; vertical-align: baseline;">[|1] <span style="font-family: 'Arial Unicode MS','Arial Unicode',Arial,'URW Gothic L',Helvetica,Tahoma,'Cambria Math',sans-serif; font-size: 9.33333px; vertical-align: super;">, ,<span style="color: #316c9d; font-family: 'Arial Unicode MS','Arial Unicode',Arial,'URW Gothic L',Helvetica,Tahoma,'Cambria Math',sans-serif; font-size: 13.3333px; text-decoration: none; vertical-align: baseline;">[|Hyejeong Kim][|a] <span style="font-family: 'Arial Unicode MS','Arial Unicode',Arial,'URW Gothic L',Helvetica,Tahoma,'Cambria Math',sans-serif; font-size: 9.33333px; vertical-align: super;">, <span style="background-color: #ffffff; color: #2e2e2e; display: block; font-family: 'Arial Unicode MS','Arial Unicode',Arial,'URW Gothic L',Helvetica,Tahoma,'Cambria Math',sans-serif; font-size: 13.3333px; text-align: justify;"><span style="background-color: #ffffff; color: #2e2e2e; display: block; font-family: 'Arial Unicode MS','Arial Unicode',Arial,'URW Gothic L',Helvetica,Tahoma,'Cambria Math',sans-serif; font-size: 13.3333px; text-align: justify;">The interactive and ‘participatory’ nature of SMTs may create ever more viable and desirable learning environments (<span style="color: #316c9d; font-family: 'Arial Unicode MS','Arial Unicode',Arial,'URW Gothic L',Helvetica,Tahoma,'Cambria Math',sans-serif; font-size: 13.3333px; text-decoration: none; vertical-align: baseline;">[|Hill et al., 2009, p. 100] ) that enable users to gain greater insights into each other's worlds and experiences. However Lewis et al. (2010) claim that this feature of SMTs fails to provide much scope for “interaction between these worlds [and] little possibility for the melding of or co-creation of worlds” (p. 112). What actually happens, they suggest, is that despite the fact that participants may be able to see, hear or follow myriad multimodal traces of each other online, each remains as an individual with his or her own set of personal objectives rather than becoming a member of a group engaged in dynamic collaborative processes and activities that foster common experiences, shared goals and generative learning communities that lead to the production of public knowledge (<span style="color: #316c9d; font-family: 'Arial Unicode MS','Arial Unicode',Arial,'URW Gothic L',Helvetica,Tahoma,'Cambria Math',sans-serif; font-size: 13.3333px; text-decoration: none; vertical-align: baseline;">[|Lewis et al., 2010, p. 113] ).  ||
 * Questions on of questionability of collaboration generation through software alone - as with my own blog || <span style="background-color: #ffffff; color: #2e2e2e; display: block; float: none; font-family: 'Arial Unicode MS','Arial Unicode',Arial,'URW Gothic L',Helvetica,Tahoma,'Cambria Math',sans-serif; font-size: 13.3333px; font-style: normal; font-variant: normal; font-weight: 100; letter-spacing: normal; line-height: 20px; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: -1.03561px;">Do SMTs facilitate collective, collaborative and co-constructed forms of learning? How do students characterise their experiences of using SMTs for learning? Do they identify with these experiences in collective and group-based ways or as autonomous individuals? Is a conceptual framework that opposes ‘group’ and ‘individual’ in such a binary way useful in helping us to understand more about the kind of learning that may occur using SMTs? ||
 * Positioning theory via verb choice and pronoun use ||  ||
 * TYPES OF LEARNING 4Domains cognitive, affective conative - capacity to act, decide motivation, psychomotor to move perceive physical skill all MARKERS of learning in domains sos || <span style="background-color: #ffffff; color: #2e2e2e; display: block; float: none; font-family: 'Arial Unicode MS','Arial Unicode',Arial,'URW Gothic L',Helvetica,Tahoma,'Cambria Math',sans-serif; font-size: 13.3333px; font-style: normal; font-variant: normal; font-weight: 100; letter-spacing: normal; line-height: 20px; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: -1.03561px;">This analytical framework takes its cue from literature on teaching and learning in higher education and educational technology specifically. <span style="background-color: #ffffff; border: 0px none; color: #2e2e2e; display: block; font-family: 'Arial Unicode MS','Arial Unicode',Arial,'URW Gothic L',Helvetica,Tahoma,'Cambria Math',sans-serif; font-size: 13.3333px; font-style: normal; font-variant: normal; font-weight: 100; letter-spacing: normal; line-height: 20px; margin: 0px; padding: 0px; text-align: justify; text-indent: 0px; text-transform: none; vertical-align: baseline; white-space: normal; word-spacing: -1.03561px;"><span style="border: 0px; color: #316c9d; font-family: 'Arial Unicode MS','Arial Unicode',Arial,'URW Gothic L',Helvetica,Tahoma,'Cambria Math',sans-serif; font-size: 13.3333320617676px; font-weight: 100; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;">[|Reeves (2006, p. 294)] suggests that there are four domains of learning: the cognitive, which includes the capacity to think, solve problems and to create; the affective, which encompasses the capacity to value, appreciate and care; the conative, which includes the capacity to act, decide and commit (this is the domain of learning that is also associated with motivation and striving); and the psychomotor, which encompasses the capacity to move, perceive, and apply physical skills (<span style="border: 0px; color: #316c9d; font-family: 'Arial Unicode MS','Arial Unicode',Arial,'URW Gothic L',Helvetica,Tahoma,'Cambria Math',sans-serif; font-size: 13.3333320617676px; font-weight: 100; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;">[|Reeves, 2006, p. 298] )<span style="border: 0px; color: #316c9d; font-family: 'Arial Unicode MS','Arial Unicode',Arial,'URW Gothic L',Helvetica,Tahoma,'Cambria Math',sans-serif; font-size: 13.3333320617676px; font-weight: 100; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;">[|Economides (2009)] uses these four areas to support the design of pervasive and ubiquitous learning; and they appear throughout a review of the literature on distance learning published by<span style="border: 0px; color: #316c9d; font-family: 'Arial Unicode MS','Arial Unicode',Arial,'URW Gothic L',Helvetica,Tahoma,'Cambria Math',sans-serif; font-size: 13.3333320617676px; font-weight: 100; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;">[|Rourke and Kanuka (2009)] . They are also used as the basis for a self-reflection model for educational practitioners in<span style="border: 0px; color: #316c9d; font-family: 'Arial Unicode MS','Arial Unicode',Arial,'URW Gothic L',Helvetica,Tahoma,'Cambria Math',sans-serif; font-size: 13.3333320617676px; font-weight: 100; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;">[|Blair (2011)]
 * ANTI Latour or in DEFENSE of the SOCIAL is the social always only one element how do things take on their vitality - that is why is the practicality and economy of pubic transport not attractive as a personally affective thing and on the same line of argument consequently why does private transport achieve that affective vitality eg what is emotion in motion for say cars or for that matter how to digital devices especially mobile phones achieve an intimate and indispensable and loyal relationship with some consumers? || <span style="color: #666666; font-family: '�helvetica neue�',helvetica,arial,sans-serif; font-size: 13px; text-align: start; vertical-align: baseline;"> [|Javier de Rivera Bruno Latour’s “Aramis or the love of technology” – Critical commentary] JANUARY 15, 2013


 * <span style="color: #000000; font-family: '�helvetica neue�',helvetica,arial,sans-serif; font-size: 15px; text-align: start; vertical-align: baseline;">In order to be “sociological,” a research has to take account of the social context and the social structure, ** <span style="background-color: #ffffff; color: #000000; font-family: '�helvetica neue�',helvetica,arial,sans-serif; font-size: 15px; text-align: start;">the background and the whole picture is necessary to do sociology. //<span style="color: #000000; font-family: '�helvetica neue�',helvetica,arial,sans-serif; font-size: 15px; text-align: start; vertical-align: baseline;">Society // <span style="background-color: #ffffff; color: #000000; font-family: '�helvetica neue�',helvetica,arial,sans-serif; font-size: 15px; text-align: start;">is the real object of study beneath any social research, and the particular aims of a research only can make sense in relation with that whole picture. The actors, subjects or informants usually cannot see this bigger picture, because they are situated in an specific point of view, though their reflexivity (narrative competence) and their interpretations are always insightful and useful.

<span style="color: #000000; font-family: '�helvetica neue�',helvetica,arial,sans-serif; font-size: 15px; text-align: start; vertical-align: baseline;">The use of a sociological framework to interpret and make sense of the information obtained is not, necessarily, a bias. It is a necessary pre-knowledge to make sense of what is observed. As the knowledge of grammatical rules and vocabulary allows us to read, the knowledge of social dynamics allows us to interpret social phenomena.

<span style="color: #000000; font-family: '�helvetica neue�',helvetica,arial,sans-serif; font-size: 15px; text-align: start; vertical-align: baseline;">// Relativist sociology has no fixed reference frames, and consequently no metalanguage. It expects the actors to understand what they are and what it is. It does not know what society is composed of, and that is why it goes off to learn from others, //// ** from those who are constructing society ** ////. //(page 200)

<span style="background-color: #ffffff; color: #000000; font-family: '�helvetica neue�',helvetica,arial,sans-serif; font-size: 15px; text-align: start;">Case studies are used as a way to represent general phenomena and learn more about our societies, not (only) for the shake of knowing a particular fact.

<span style="background-color: #ffffff; color: #000000; font-family: '�helvetica neue�',helvetica,arial,sans-serif; font-size: 15px; text-align: start;">The tension between public and private, and the social class reading of the project is obvious from a sociological perspective, but for Latour it is just “noise” that aparts us from the understanding of technology (Aramis).

<span style="background-color: #ffffff; color: #000000; font-family: '�helvetica neue�',helvetica,arial,sans-serif; font-size: 15px; text-align: start;">As if it were not obvious that technology is just a projection of human creativity and social productivity. We only can love (a particular application of) technology for what it does or can do, or for the meanings embedded in it as a cultural artifact, or for the power or social status we can get through it. Technology is not a realm or a thing in itself, is (a central) feature of culture.

<span style="background-color: #ffffff; color: #000000; font-family: '�helvetica neue�',helvetica,arial,sans-serif; font-size: 15px; text-align: start;">Love for Technology is abundant when it is about launching a rocket to the moon or developing sophisticated weaponry, but it lacks when it is about revolutionizing public transportation. Why? Because the social structure (the network of social interests) do not support research in that area, although for some time it did: to relocate investments, for patriotism (French technology), etc. **<span style="color: #000000; font-family: '�helvetica neue�',helvetica,arial,sans-serif; font-size: 15px; text-align: start; vertical-align: baseline;">Technically, Latour does not offer us any real answer, ** <span style="background-color: #ffffff; color: #000000; font-family: '�helvetica neue�',helvetica,arial,sans-serif; font-size: 15px; text-align: start;">but an abstract idealization and mystification of technology, which is misleading and apart us from the possibility of a sociological understanding of technology. || 2014 __ [| Latour's Notion of the Digital] __ [|stunlaw] http://stunlaw.blogspot.com.au/2014/08/on-latours-notion-of-digital.html || <span style="-webkit-text-stroke-width: 0px; background-color: #ffffff; color: #666666; display: inline !important; float: none; font-family: 'Trebuchet MS',Trebuchet,Verdana,sans-serif; font-size: x-small; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 9.3333330154419px; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">Latour (2010b) explains "under André Malet’s guidance, I discovered biblical exegesis, which had the effect of forcing me to renew my Catholic training, but, more importantly, which put me for the first time in contact with what came to be called a network of translations – something that was to have decisive influence on my thinking... Hence, my fascination for the literary aspects of science, for the visualizing tools, for the collective work of interpretation around barely distinguishable traces, for what I called inscriptions. Here too, exactly as in the work of biblical exegesis, truth could be obtained not by decreasing the number of intermediary steps, but by increasing the number of mediations" (Latour 2010b: 600-601, emphasis removed). <span style="background-color: #ffffff; color: #666666; font-family: 'Trebuchet MS',Trebuchet,Verdana,sans-serif; font-size: 13.2px; text-align: start;">Latour finishes his talk by reminding us that the "digital is not a domain, but a single entry into the materiality of interpreting complex data (sublata) within a collective of fellow co-inquirers". Reiterating his point about the downgraded status of the digital as a problematic within social research and its pacification through its articulation as an inscription technology (similar to books) rather than a machinery in and of itself, shows us again, I think, that Latour's understanding of the digital is correspondingly weak. || <span style="background-color: #ffffff; color: #666666; display: block; font-family: 'Trebuchet MS',Trebuchet,Verdana,sans-serif; font-size: 12px; text-align: left;"><span style="background-color: #ffffff; color: #888888; font-family: 'Trebuchet MS',Trebuchet,Verdana,sans-serif; font-size: 12px; text-align: start; text-decoration: none;">[|David M. Berry] 2014 __ [| Latour's Notion of the Digital] __ > [|stunlaw] > http://stunlaw.blogspot.com.au/2014/08/on-latours-notion-of-digital.html > > > > || <span style="-webkit-text-stroke-width: 0px; background-color: #ffffff; color: #666666; display: inline !important; float: none; font-family: 'Trebuchet MS',Trebuchet,Verdana,sans-serif; font-size: 13.1999998092651px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 12.3199996948242px; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">Here, vibration follows from the work of Gabriel Tarde in 1903 who referred to the notion of "vibration" in connection to an empirical social science of data collection, arguing that, > If Statistics continues to progress as it has done for several years, if the in-formation which it gives us continues to gain in accuracy, in dispatch, in bulk, and in regularity, a time may come when upon the accomplishment of every social event a figure will at once issue forth automatically, so to speak, to takeits place on the statistical registers that will be continuously communicatedto the public and spread abroad pictorially by the daily press. Then, at every step, at every glance cast upon poster or newspaper, we shall be assailed, asit were, with statistical facts, with precise and condensed knowledge of allthe peculiarities of actual social conditions, of commercial gains or losses, of the rise or falling off of certain political parties, of the progress or decay of a certain doctrine, etc., in exactly the same way as we are assailed when weopen our eyes by the vibrations of the ether which tell us of the approach or withdrawal of such and such a so-called body and of many other things of a similar nature (Tarde 1962: 167–8). <span style="-webkit-text-stroke-width: 0px; background-color: #ffffff; color: #666666; display: inline !important; float: none; font-family: 'Trebuchet MS',Trebuchet,Verdana,sans-serif; font-size: 13.1999998092651px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 12.3199996948242px; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">This is the notion of vibration Latour deploys, although he prefers the notion of //<span style="-webkit-text-stroke-width: 0px; background-color: #ffffff; color: #666666; font-family: 'Trebuchet MS',Trebuchet,Verdana,sans-serif; font-size: 13.1999998092651px; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 12.3199996948242px; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">sublata //<span style="-webkit-text-stroke-width: 0px; background-color: #ffffff; color: #666666; display: inline !important; float: none; font-family: 'Trebuchet MS',Trebuchet,Verdana,sans-serif; font-size: 13.1999998092651px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 12.3199996948242px; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">(similar to capta, or captured data) rather than vibration. For Latour, the datascape is that which is captured by the digital and this digitality allows us to view //<span style="-webkit-text-stroke-width: 0px; background-color: #ffffff; color: #666666; font-family: 'Trebuchet MS',Trebuchet,Verdana,sans-serif; font-size: 13.1999998092651px; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 12.3199996948242px; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">a few //<span style="-webkit-text-stroke-width: 0px; background-color: #ffffff; color: #666666; display: inline !important; float: none; font-family: 'Trebuchet MS',Trebuchet,Verdana,sans-serif; font-size: 13.1999998092651px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 12.3199996948242px; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;"> segments, thus partially making visible the connections and communications of the social, understood as an actor-network. It is key here to note the focus on the visibility of the representation made possible by the digital, which becomes not a processual computational infrastructure but rather a set of inscriptions which can be collected by the keen-eyed ethnographer to help reassemble the complex socio-technical environments that the digital forms a part of. The digital is, then, a text within which are written the traces of complex social interactions between actants in a network, but only ever a repository of //<span style="-webkit-text-stroke-width: 0px; background-color: #ffffff; color: #666666; font-family: 'Trebuchet MS',Trebuchet,Verdana,sans-serif; font-size: 13.1999998092651px; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 12.3199996948242px; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">some //<span style="-webkit-text-stroke-width: 0px; background-color: #ffffff; color: #666666; display: inline !important; float: none; font-family: 'Trebuchet MS',Trebuchet,Verdana,sans-serif; font-size: 13.1999998092651px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 12.3199996948242px; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;"> of these traces. ||
 * Anti Latour's understanding of the digital based on biblical exegesis <span style="background-color: #ffffff; color: #888888; font-family: 'Trebuchet MS',Trebuchet,Verdana,sans-serif; font-size: 12px; text-align: start; text-decoration: none;">[|David M. Berry]
 * LAtour and the digital as a mechanism for Tarde's project of vibration*
 * cMoocs || Downes half an hour<span style="background-color: #ffffff; color: #222222; font-family: 'Trebuchet MS',Trebuchet,Verdana,sans-serif; font-size: 13.2px; text-align: start;">A student who cannot navigate complex websites, search for and assess resources, or make new friends through a social network may have difficulty navigating through a cMOOC. As Keith Brennan writes, "Not everyone knows how to be a node. Not everyone is comfortable with the type of chaos Connectivism asserts. Not everyone is a part of the network. Not everyone is a self-directed learner with advanced metacognition. Not everyone is already sufficiently an expert to thrive in a free-form environment. Not everyone thinks well enough of their ability to thrive in an environment where you need to think well of your ability to thrive." (Brennan, 2013) ||

<span style="display: block; height: 1px; left: -40px; overflow: hidden; position: absolute; top: 3722.5px; width: 1px;"><span style="-webkit-text-stroke-width: 0px; background-color: #ffffff; color: #29303b; display: inline !important; float: none; font-family: Georgia,Verdana,Arial,serif; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; orphans: auto; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">* A //<span style="-webkit-text-stroke-width: 0px; background-color: #ffffff; color: #29303b; font-family: Georgia,Verdana,Arial,serif; font-size: 12px; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; orphans: auto; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">surprising //<span style="-webkit-text-stroke-width: 0px; background-color: #ffffff; color: #29303b; display: inline !important; float: none; font-family: Georgia,Verdana,Arial,serif; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; orphans: auto; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;"> result in a laboratory experiment. In the moment of surprise in a laboratory experiment a substance //<span style="-webkit-text-stroke-width: 0px; background-color: #ffffff; color: #29303b; font-family: Georgia,Verdana,Arial,serif; font-size: 12px; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; orphans: auto; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">other //<span style="-webkit-text-stroke-width: 0px; background-color: #ffffff; color: #29303b; display: inline !important; float: none; font-family: Georgia,Verdana,Arial,serif; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; orphans: auto; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;"> than the scientists and theories rises forth and announces itself, effectively //<span style="-webkit-text-stroke-width: 0px; background-color: #ffffff; color: #29303b; font-family: Georgia,Verdana,Arial,serif; font-size: 12px; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; orphans: auto; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">participating //<span style="-webkit-text-stroke-width: 0px; background-color: #ffffff; color: #29303b; display: inline !important; float: none; font-family: Georgia,Verdana,Arial,serif; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; orphans: auto; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;"> in the dialogue. It is not just the //<span style="-webkit-text-stroke-width: 0px; background-color: #ffffff; color: #29303b; font-family: Georgia,Verdana,Arial,serif; font-size: 12px; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; orphans: auto; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">scientists //<span style="-webkit-text-stroke-width: 0px; background-color: #ffffff; color: #29303b; display: inline !important; float: none; font-family: Georgia,Verdana,Arial,serif; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; orphans: auto; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;"> that here participate in the dialogue, but the substance has said something //<span style="-webkit-text-stroke-width: 0px; background-color: #ffffff; color: #29303b; font-family: Georgia,Verdana,Arial,serif; font-size: 12px; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; orphans: auto; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">too //<span style="-webkit-text-stroke-width: 0px; background-color: #ffffff; color: #29303b; display: inline !important; float: none; font-family: Georgia,Verdana,Arial,serif; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; orphans: auto; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">. This speaking is provoked, of course, by the scientists, but it has nothing to do with the scientists’ intentions or meanings. It participates in the dialogue in the sense of modifying everything within that dialogue. Does this entail that the substance //<span style="-webkit-text-stroke-width: 0px; background-color: #ffffff; color: #29303b; font-family: Georgia,Verdana,Arial,serif; font-size: 12px; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; orphans: auto; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">wanted //<span style="-webkit-text-stroke-width: 0px; background-color: #ffffff; color: #29303b; display: inline !important; float: none; font-family: Georgia,Verdana,Arial,serif; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; orphans: auto; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;"> to speak, that it //<span style="-webkit-text-stroke-width: 0px; background-color: #ffffff; color: #29303b; font-family: Georgia,Verdana,Arial,serif; font-size: 12px; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; orphans: auto; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">intended //<span style="-webkit-text-stroke-width: 0px; background-color: #ffffff; color: #29303b; display: inline !important; float: none; font-family: Georgia,Verdana,Arial,serif; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; orphans: auto; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;"> to speak, that it //<span style="-webkit-text-stroke-width: 0px; background-color: #ffffff; color: #29303b; font-family: Georgia,Verdana,Arial,serif; font-size: 12px; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; orphans: auto; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">demanded //<span style="-webkit-text-stroke-width: 0px; background-color: #ffffff; color: #29303b; display: inline !important; float: none; font-family: Georgia,Verdana,Arial,serif; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; orphans: auto; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;"> to be heard? No, of course not. Nonetheless it does speak or announce something in the course of the experiment and is every bit as much a participant in the experiment as the scientists. Indeed, often the scientists would prefer that the substance //<span style="-webkit-text-stroke-width: 0px; background-color: #ffffff; color: #29303b; font-family: Georgia,Verdana,Arial,serif; font-size: 12px; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; orphans: auto; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">hadn’t //<span style="-webkit-text-stroke-width: 0px; background-color: #ffffff; color: #29303b; display: inline !important; float: none; font-family: Georgia,Verdana,Arial,serif; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 18px; orphans: auto; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;"> spoken as in many cases the “speech” of the substance can spell the ruin of their work.