Archive for the ‘television’ Category

50 objects for 50 years. No 32. Video recordings.

Sunday, November 25th, 2018

The OU achieved national, indeed international, fame through its use of television for teaching purposes. However, it was teaching so much that the time allocated to OU broadcasts soon became inadequate. The BBC wanted to broadcast a range of materials. As noted under Object No 31, the number of television transmission slots available to the OU did not grow at the same rate as the number of OU broadcasts. By 1978  about 20 per cent of OU television broadcasts had only one transmission. The percentage of students watching the broadcasts fell and the OU’s Video-Cassette Loan Service was introduced in 1982. As only about 8 per cent of OU students had a VHS player at home, machines were distributed to the regions. OU study centres began to be stocked with collections of videos and replay machines. In 1981 students could attend centres in order to use Europe’s first ‘interactive videodisc’.

Soon the technology spread. By 1986 60 per cent of OU undergraduates had a video player in their homes. Britain had the highest ownership of video-cassette recorders in Europe, and OU students’ access to such technology was ‘well above the national rate’. A survey found that only 14 per cent of OU under- graduates could not arrange access to a machine. In 1992, 90 per cent of OU students surveyed had a VCR and 80 per cent of them recorded OU programmes. From 1993, instead of mailing video-cassettes to students, the OU arranged for the night-time broadcast of programmes for students to record.  Video-cassettes liberated students from a fixed viewing schedule. OU Professor John Sparkes argued that ‘it was a mistake to try to teach conceptually difficult material by broadcast TV. It goes too fast and cannot be slowed down to allow for thinking time.’ Using video, students could skim, pause, rewind, fast forward and search. They could integrate reflection on of other teaching media. By contrast, a third of students who watched television material focused on the details and failed to draw out the general principles.  For courses with fewer than 650 students each year it was cheaper for the OU to distribute returnable video-cassettes than to broadcast the material. he OU had its own purpose-built television studio complex at Walton Hall. This enabled it to produce a video which generated three-dimensional images of the brain for the Biology: brain and behaviour course. The OU began to produce course-specific, non-broadcast materials (for group viewing at residential schools, for example).

OU videos, unlike broadcasts, were designed for students not general viewers and could be and replayed by the students. The OU considered how best to use the equipment. Research was carried out at the OU into the effectiveness of teaching by non-academic organisations, such as British Telecom (which used interactive video to train managers dispersed throughout the UK) and Price Waterhouse (which used a videodisc-based training programme to acquaint employees with potential computer security risks). An ‘Alternatives to print for visually impaired students: feasibility project report’ was produced for The Mercers’ Company and Clothworkers’ Foundation. A team from IET worked with Rank Xerox EuroPARC in order to design effective computer-based support for collaborative learning where people were located at different physical sites and connected via various forms of technology.

The OU made a number of videos as part of its Continuing Education activities. A video for Talking with young people, P525, included forty- three sequences. Students were invited to watch in groups and consider their reactions. The constraints inherent in a 23-minute broadcast slot did not apply to a video-cassette with a number of independent sections of varying lengths. For Social psychology, D307 (1985–95), students were invited to analyse a drama by referring to letters in the corner of the screen and a grid provided in the video notes. The presenter explained:

watch the excerpt straight through first time, even if you can’t get it all down in your notes, you’ll have a chance to replay this section of the tape later on. Doing this analysis in real time will be good practice for when you do your own observation.39

Similarly, the, video associated with Matter in the universe, S256 (1985–92), included the instruction that viewers should watch it more than once and that they should address questions related to the numbers in the corner of the screen. For Engineering mechanics: Solids and fluids, T331, 1985–2004, students were expected to measure the time period of an oscillating pendulum, and then stop the tape and apply the data to an equation. The impersonal broadcast to an infinite crowd had been adapted to enable personal use by members of the OU’s student body.

By the 1990s for Studying family and community history: 19th and 20th centuries, DA301 (1994–2001), students were encouraged to develop their transferable skills by making audio and video recordings.

50 objects for 50 years. No 31. Teaching materials on the box.

Sunday, November 25th, 2018

Between 1971 and 2006 the OU used television to deliver some of its teaching materials. Initially these were not treated seriously by the OU’s critics. During the period of its creation, 1963-69, they had argued that it was not a community of scholars, that it did not serve those best served by adult education provision, that it was party political and that television could transmit trivia, but could do little else. Concerns about using television were numerous. They included

Concern that control would lie in the hands of the BBC, not the academic institution. The BBC sought to support the education of citizens and the national interest. The OU had different concerns. Sometimes there were clashes over scheduling and content.

Concern that broadcast material should not be assessed as some people were out of broadcast range (because they lived in remote areas or in prison) and some people would not be able to see the programmes (due to shift work or competition from family members, or because they could not access a television).

Concern that costs were high. For most courses (modules the OU could afford one programme of 24 minutes which included film and a second programme filmed in a studio, often consisting largely of talking heads.

Concern about the content. As it was assumed that students would see each broadcast only once. The number of television transmission slots available to the OU did not grow at the same rate as the number of OU broadcasts and, by 1978 about 20 per cent of OU television broadcasts had only one transmission. There was quite a lot of repetition in broadcasts. Moreover, as the programmes were aimed at general viewers as well as students, the material was not always focused on the module.

Concern that few academics were good at using television to aid communication and support learning.

Concern that academic critics would see the ingenious models and well-made films and conclude that the OU was an academic lightweight. Some OU programmes appear to be almost deliberately dour, perhaps to give the impression that learning is a serious matter.

Concern that as modules ran for around a decade, topicality was hard to arrange. For example the first, generic, level 1 arts module, A100 ran 1971-78. It was succeeded by A101 1978, A102, 1987 and A103, 1998.

Concern that the technology would form a barrier between learners and tutors when tutorials were used to play recordings of television broadcasts.

Although the OU did not take a linear journey from passive learning to support for active learning there was a general move away from the idea that knowledge could be transmitted to students towards the idea that through dialogue, knowledge was built by learners. While some early films featured authoritative men employing alienating language with little regard for participative learning there were exceptions. These included David Boswell’s sociology film, made in a hostel for ‘the mentally subnormal’ according to the parlance of the time, showed the group relationships through use of a hidden camera. There was little editing as the aim was that students could form their own opinions and use it as a starting point for discussion. The BBC producer explained that the programme ‘represented slowed down reality upon which the student can wreak his sociology’.

Assessing the teaching of history at the OU Arthur Marwick noted that ‘the emphasis throughout is not upon the teacher offering some kind of performance … but on encouraging the student to do the discussing, to develop the skills … We attempt not to purvey facts and opinions but to encourage the student to argue over and discuss various ideas.’ Marwick’s aim was ‘to leave each piece of film to speak for itself without being overlaid by an intrusive commentary’.

Sometimes it was difficult to strike an appropriate balance between academic and presentational ambitions. In the Science Foundation Course programme a presenter called fluorine ‘the Tyrannosaurus Rex of gases’ and thus triggered an animated cartoon form of a roaring dinosaur in a crown while a colleague employed the phrase ‘going down the scale’ and then played a recorder on screen.

Measuring the time spent by talking heads, how far the transmissions encouraged collaborative learning, if enthusiastic experts were introduced, if there was a variety of approaches and if the viewer was assigned the role of intelligent adult, curious and eager to learn, it is clear that as the size and weight to cameras fell and staff became more experienced the teaching improved.

50 objects for 50 years. No 16. Blue Planet II

Monday, August 6th, 2018

After people saw the Blue Planet II footage of albatross parents unwittingly feeding their chicks plastic and mother dolphins potentially exposing their new-born calves to pollutants through their contaminated milk, the campaign against the excessive use of plastic gained a lot more adherents. David Attenborough expressed that he was ‘absolutely astonished at the result that that programme has had’ and noted the impact on politicians and businesses and the reduction in people’s single-use plastic footprints. There are campaign and activities ideas.

The influential series is linked to the OU, particularly Dr Mark Brandon and Dr Philip Sexton. Listen to Janet Sumner interviewing OU consultants to the Blue Planet II TV series. There is more here  and here and you can get an OU ‘Oceans’ poster.

This is part of an OU tradition of producing widespread, lifelong learning beyond the syllabus. Its early modules, courses included material broadcast on BBC television and radio. There was initial scepticism from some academics and Conservative politicians. However, the OU was committed to using television and sought to employ innovative approaches. The programmes had to address both registered students and the wider public. The result was varied informative programmes which positioned viewers as interactive learners and presented learning as a problematising and experiential activity. As the first Dean of Arts, John Ferguson, complained, ‘It is a common delusion about the Open University that we “give lectures on TV.” We do not “give lectures” at all.’ The OU had its own purpose-built television studio complex at Walton Hall, which enabled it to produce, for example, a video which generated three-dimensional images of the brain for the Biology: brain and behaviour course. For Haemoglobin, Programme 1 of Biochemistry and molecular biology, S322 (1977–85), Max Perutz used a static model, moving graphs, equations, diagrams, a clip of an experiment and a view down a microscope as well as lecturing to camera. Robert Bell, an OU lecturer, recalled ‘seeing an early Maths programme shot on a rubbish dump, and certainly many of them involved ingenious working models that would have been unavailable then in a conventional university’. The materials for Drama, A307 (1977–81), included the transmission of sixteen fifty-minute plays. Samuel Beckett’s Endgame was given its television premiere on an OU transmission of 90 minutes in duration. Students were told ‘Do not regard each programme as definitive … you should bring your free and concentrated response and your informed critical judgment’.

Charlie Drake in a dustbin in the BBC and OU version of Endgame.

To develop students’ critical awareness of how each performance of a play was an interpretation of the text there was multi-camera work in the studio and televised scenes from Aristophanes’ Clouds, in which Socrates appears as a character. In the broadcast’s introduction John Ferguson is shown with cameras around him and there is a moment when both a Greek character – Strepsiades, played by Juan Moreno – and the Dean are in shot. Similarly, Shakespeare’s Hamlet was not presented as an uninterrupted performance. Instead academics discussed different ways of interpreting individual scenes. These interpretations were illustrated through performances by actors. How was all this received? Audrey Moore, who started her studies in 1974, recalled that the television programmes were often on early in the morning and she was ‘frequently rather tired going to work’, but one programme, on the Cuban revolution,’ inspired me to want to sing and dance all the way to work’. After nearly ten years as Vice-Chancellor John Horlock was able to claim that millions had, through the OU broadcasts, ‘obtained further education “by osmosis”’. Blue Planet II is a stunning achievement, and one built on years of experience and co-operation between the broadcasters and the educators.

 

50 objects for 50 years. No 15. The Study Centre

Monday, July 30th, 2018

In the early years study centres were used to show students OU TV programmes.

Study centres were integral to the OU from the start. The 1966 White Paper, formally introducing the OU, proposed that a network of study centres, where tutors could meet students, should be created. The Times fretted that a university education ‘demands direct personal contacts between teachers and learners and even more, among the students themselves. It is doubtful that the network of summer schools and study centres will be able to support it.’ The first Vice Chancellor, Walter Perry felt that in order to function, the OU has to be ‘parasitic’ upon other institutions, notably the WEA and local authorities, in regard to the provision of study centres. He set Regional Directors the task of finding these places. Harold Wiltshire (who was both a member of the Planning Committee and Head of Nottingham University’s extramural department) helped Regional Director Norman Woods to find rooms in the East Midlands. In Belfast one of the first centres was in a school. The Regional Director, Ken Boyd recalled ‘adults getting their knees under grammar school pupil’s desks’. In 1977 the OU’s Dr Ken Jones proposed study centres in industrial premises and the offer of guaranteed places for industrial workers. However, largely centres have been sited in polytechnics, universities and other educational establishments. A 1996 report found that ‘all too often they are in dreary, poorly equipped schools’.

Tutorials in Study Centres. By the 1990s the idea of grouping students around tables so that they could see and talk with one another was commonplace.

Left is a table of the different types of host institution in 1971.

Perry considered purchasing 280 sets of the 27 volume Encyclopaedia Britannica  in order to equip study centres. However, it seemed more valuable to equip them so that users could access a variety of electronic and electrical items. From the first year that the OU presented modules, 1971, some mathematics courses required students to be able to access a computer terminal. On M100, the first mathematics foundation course, 7,000 students were given access to the OU’s mainframe computers via 109 Teletype terminals in study centres and 4 terminals available at summer schools. Access was limited by the scarcity of terminals. One student recalled making a forty-mile round trip ‘to set up a simple query in Basic and then wait ages for the response to clatter back’. My Mum studied M100 and had to go to a local school where students could dial up a computer 50 miles away in Manchester. She reported that she barely got a glimpse of the technology because the male students were so keen to engage with it. Over 10,000 hours were logged by students who learned, through a dial-up service, how to write programmes in BASIC.

Tutorials were often devoted to offering students opportunities they could not otherwise obtain, notably group discussions or engagement with scientific experiments and demonstrations. Study centres began to be seen as potential media resource Centres. Some were stocked with collections of videos and replay machines. Recordings of programmes were made available in study centres, and loans of playback equipment were made. In the 1970s few students had access to such equipment. In 1976 the OU set up the CICERO project with three courses (modules) with online requirements. In 1981 students could attend centres in order to use Europe’s first ‘interactive videodisc’ and there were more than 250 study centres in the dial-up network; most had with Teletype or VT100 terminals. In 1982 about 95 per cent of students lived within five miles of a study centre computer terminal. The ‘connect hours’ increased by 50 per cent due to the introduction of the courses M252 and PM252 ‘Computing and Computers’, studied by nearly 3,000 students.

In 1982 telewriting system or an ‘electronic blackboard’ known as Cyclops was introduced. A telephone line connected to a TV monitor. It enabled drawings made on screens to be seen in other locations. Eight study centres were connected in a two-year trial run in the East Midlands and funded by British Telecom. The tutor could be in a central position in one of the study centres with a group of students there, talking to little groups in another three or four centres.

A report in 1996 found that OU study centres, having begun life as ‘Listening and Viewing Centres with the express purpose of providing access to VHF radio and BBC2 and as access to BBC2 and video recordings at home widened it appeared as if ‘the future for study centres is clear … extinction’. However, face-to-face connections between students and tutors have remained popular and they are still used.

Study centres have played a variety of other roles as well. A study centre in the Netherlands was also used by the Dutch OU. In Belfast the Long Kesh Internment Centre, the Maze, had a study centre hut was established inside the prison. It was used by both loyalists and republicans. Martin Snoddon, who called himself a Unionist ‘hardliner’, met a member of the IRA in the Maze when they were both studying through the OU. They became friends and remained in contact after their release. Snoddon, when released, took on reconciliation work and helped to form a group which aimed to reintegrate former political prisoners from both sides into the wider society. Many of the OU’s prisoner students in the Maze went on to hold positions of authority in a variety of community organisations. In 2012 five Sinn Féin Members of the Legislative Assembly in Northern Ireland, a Member of the European Parliament and others in a number of civic roles were OU graduates. David Ervine and Billy Hutchinson were both elected to Belfast City Council in 1997 and to the Northern Ireland Assembly in 1998 and were former Long Kesh Compound prisoners who had completed OU degrees. Both felt that their degrees gave them political confidence and an understanding of methods other than violence.

In 1969 theorist Michel Foucault helped to found the Group d’Information sur les Prisons (Prison Information Group) and within a few years he had conceptualised (in Of other spaces) prison as a heterotopia, that is a ‘place which lies outside all places and yet is localisable’. Such a place could juxtapose ‘in a single real space, several spaces, several sites which are themselves incompatible’. Heterotopias were not utopias, but ‘other places’ in which existing arrangements were ‘represented, contested and inverted’, where individuals could be apart from the larger social group. These locations were both isolated and penetrable, their focus and meaning unfixed. When an OU student, an Irish Republican prisoner called Dominic Adams, referred to the classroom in a prison run by the British by its name in Gaelic, seomra rang, he was not naming it not as a utopia (literally meaning ‘no place’) but an OU-topia which could be almost any place in which the social order could be reevaluated. Many of those who studied with the OU while in prison were able to create a space for themselves which was beyond their day-to-day reality and within which there was a strong sense of the collective. This tendency was so marked that one interviewer noted, ‘a very strong and understandable tendency to tell stories from the collective perspective since this reflects the solidarity of the political organisation […] Sentences would sometimes begin ‘we’ not ‘I’’.

Study centres have been more than sad school rooms, they have been where students came together and, supported by their tutors, created ideas and understandings though collaborative engagement.

50 objects for 50 years: No 12. Beagle 2 – looking for life, saving lives

Monday, July 9th, 2018

BBC image of there dustbin-lid-sized Beagle 2

The OU’s Planetary and Space Sciences Research Institute, PSSRI, is the largest planetary sciences group in the UK. A founder member was Colin Pillinger, CBE FRS FRAS FRGS (1943-2014) who joined the OU in 1984. The Planetary and Space Sciences Research Institute was where the Gas Analysis Package was developed. The package was a miniaturized version of the instruments used in the laboratory to analyse meteorites. It was designed to determine whether conditions were ever conducive to life on Mars.

In 2003 Professor Pillinger led a project, in collaboration with the University of Leicester, to build a craft, Beagle 2 which could be transported by the European Space Agency’s Mars Expressmission and then launched towards the surface of Mars. In the television series ‘Life on Mars’(first broadcast 2006–07) the time-travelling central character’s understanding of his situation was significantly improved through a late- night OU-style television programme which offered highly relevant knowledge. This rather tenuous connection of the OU to Mars was eclipsed by Pillinger’s efforts to work with the media. Pillinger ‘captured the imagination of the British public’ as Tim Radford noted. Beagle helped to popularise exploration by involving artists. Blur wrote a song to be used as a call sign and Damien Hurst provided a spot painting to be used to calibrate the craft’s camera. ‘Want more children to study science? Look to Colin Pillinger for inspiration’ as one headline put it. Pillinger himself appeared on a number of popular television programmes and in the press to explain his work.

Beagle 2 got to Mars but then suffered a failure which meant that it could not send data to earth. However, within a few months of the demise of Beagle 2, Pillinger was arguing for a Beagle 3. Pillinger also played a role in the Philae lander which, after his death in 2014, was used to conduct gas chromotograph mass spectrometer experiments on Comet 67P Churyumov/Gerasimenko.

During a period when cases of TB were rising to about two million fatal cases a year, particularly in sub-Saharan Africa, diagnosis relied mainly on the use of smear microscopy of sputum samples, a very labour-intensive process with low sensitivity. This was expensive and slow. Working with the London School of Hygiene and Tropical Medicine and funded by the Wellcome Trust, the OU developed that the OU’s gas chromatograph–mass spectrometer, based on the research carried out for Mars, so that it could accurately detect TB bacteria in a lung. Tuberculosis requires rapid diagnosis to prevent further transmission and allow prompt administration of treatment. The use of  gas chromatography- electron impact mass spectrometry provided an alternative solution.

 

OU module at centre of new book

Wednesday, May 9th, 2018

This new book, The University Is Now on Air: Broadcasting Modern Architecture explores the Open University as a critical point of convergence between mass media and mass education.

The book focuses on the module (course) A305, History of Architecture and Design 1890-1939, as a reference point for current discourse on open-source and online educational models.

Different aspects of A305 are analysed and there are conversations between Joaquim Moreno (who curated an exhibition ‘The University Is Now on Air: Broadcasting Modern Architecture’) and central figures involved in the creation and production of the course. These are Stephen Bayley, (interviewed here) Tim Benton, Adrian Forty, Nick Levinson, and Joseph Rykwert. There are also essays that frame broader questions of architectural historiography, media history, and the pedagogical and political circumstances of the period. These are by Joaquim Moren0 who has previously considered A305, see here. On the exhibition see  here and here. It is reviewed as an ‘alternative history of the modern movement’, here.

The A305 Course Chair recalled that the teaching materials included 24 television programmes, 32 radio programmes and a Radiovision Booklet. He has assessed the course here and here.

The book is a co-publication with Jap Sam Books, designed by Jonathan Hares (Lausanne and London).

We interrupt this programme

Sunday, April 29th, 2018

A305, History of Architecture and Design 1890–1939 was taught 1975-82. Here Charlotte Lydia Riley, Owen Hatherley, and Jonathan Bignell show the material and then comment on it, with their reflections on history, architecture and media. https://www.cca.qc.ca/en/issues/25/a-history-of-references/57217/we-interrupt-this-broadcast