Abstract

What happens a Learning Technologist working in a higher education and an experimental performance poet combine? Critical auto ethnography can be defined as a “critique of culture through the lens of the self…” (Holman-Jones in Holman-Jones & Pruyn, 2018: p4). Techno-auto-ethnography is provocation, possibility and a novel opportunity to perform the stories of our techno-selves. Why do feel the way we do about technology in different contexts? What “folk pedagogy” and “pseudo theories” do we tell ourselves and others (Drumm, 2019). Are these useful questions to ask? The presentation will draw on the practice of “identity performance” (Clark, 2020).  As a methodology, (techno) auto-ethnography can provide an approach to explore the “nuanced, complex, and specific insights into particular human lives, experiences and relationships” (Holman-Jones in Holman-Jones & Pruyn, 2018: p5). The presentation will explore the genealogy of the techno-auto-ethnographic approach from a pedagogic context, how it was developed into experimental techno-poetics, and explored further though technology-enhanced poetry (TEP). Drawing on the notion of “critical performance pedagogies”, how the methodology was shared, used to engage others, how techno-auto-ethnographic outputs were both published and performed in a range of context and potential future applications will be explored (Campbell, 2020).

Bibliography 

Campbell, L. (2020) Introduction Critical Performative Pedagogies: Principles, Processes and Practices. In:  Campbell, L (2020) (ed) Leap Into Action Critical Performative Pedagogies in Arts & Design Education (New York: Peter Lang) pp1-35.

Clark D. (2020) “Tech and me: an autoethnographic account of digital literacy as an identity performance”, Research in Learning Technology, 280. doi: 10.25304/rlt.v28.2389

Drumm L. (2019) “Folk pedagogies and pseudo-theories: how lecturers rationalise their digital teaching”, Research in Learning Technology, 270. doi: 10.25304/rlt.v27.2094.

Holman-Jones, S. (2018) ‘Creative Selves/Creative Cultures: Critical Autoethnography, Performance and Pedagogy’. In:  Holman-Jones, S & Pruyn, M. (eds) (2018) Creative Selves / Creative Cultures: Critical Autoethnography, Performance, and Pedagogy (Creativity, Education and the Arts) (Cham: Palgrave Macmillan) pp3-21.

Speaker Bio

Pip McDonald works in higher education in learning technology and is also an experimental performance poet. She has performed at the Wandsworth Fringe Festival with the Lost Souls Poetry Group, High Tide Festival in Twickenham, and with the British Bilingual Poetry Collective (BBPC) in London. She curates and performs multimodal and technology-enhanced poetry (TEP). She recently hosted the Association for Learning Technologists (ALT) open mic event. She has published in Aayo, Scran and Otherwise magazines. She has also published poems in the Global, International Poets, and Soul poetry anthologies edited by Sourav Sarakar. You can follow Pip on Twitter: @PipMac6.