 Pip, do you see these graphics? They're really groovy. I use the third party tool, but I'll let you know all of my e-learning secrets later, as I shared with my LEDs and graphics. Right, welcome. Thank you very much for attending the first ever Association for Learning Technology open mic event as part of the community. The association itself, if you're not familiar with it, it's the leading sort of organization that supports learning technology across all sectors. The conference itself will be in Manchester, but it comes from around as part of the social program, the open mic sits within it. There's also an ALT radio show taking place on Thursday night, on the Thursday night show, and a series of learning technologists and associated professionals coming to that. That'll be fun. That's all online. So for today, my name's Pip. I work in the learning technology capacity in higher education and also really enjoy, thoroughly enjoy the open mic format, whether it's online or offline. And it's a really inclusive, accessible, interdisciplinary, fun, inclusive way to share original work. And today is an opportunity for that. So just wanted to share the kind of plan. So the set list, as you can see, we've got T, Turamini Nadan, Dr Turamini Nadan first, then Anna Somerset, and Wendy. I'll be sharing a pre-recorded performance from her, which is created. Hannah Maria Stanislaus, Dr Deborah Arnold, and then our headline act, Dr Lee Campbell. So I hope that's okay with everybody. So we've only got an hour, and I don't want to stop you from having your dinner or your tea. And just a couple of reminders. Let's not do hate speech, or any discriminatory comments. Let's make sure that we support each other, use the chat. This is a safe space to be creative. I'm really looking forward to listening to your creative work. If for whatever reason the tech doesn't work, it's fine. I'm equally as enthusiastic as I am critical about learning technology. And that's one of the things that, I guess, a conference is an opportunity to explore. So, without further ado, Turamini, are you ready to rock and roll? Yes, please, Pip. Would you like to share screen? Should I stop sharing so you can share? Yeah. Okay, one moment. I'll just stop the share, and the floor is yours. Can you see my screen all in full? Okay. Thanks, Pip. So it seems I'm going first. So this poem, I want to do a bit of history around why I wrote it. I wrote it earlier this year. I didn't present it. Actually, it was off to a series of online conferences being canceled, getting canceled, because they were just waiting to organize it face to face. That's what people have been used to pre-pandemic. And somewhere that has been a rush, I think, for it because obviously there was vaccination rates being high in some countries, which kind of influenced every other country to kind of end their strategy towards the pandemic. And I also wrote it because of, so the title, You're Forgetting Me. I'm just going to go straight into it. And then if I have time, I'm just going to explain about it a bit. So there you go, forget me not. When the world was crying in the pandemic, I was happy. Yes, I was happy. Yes, I was happy. I was happy that people were stuck at home. I was happy that the roads were quiet. I was happy that people had to zoom in Google Meet. I was happy people were not turning their webcam on. I was happy conferences, meetings were all online. Oh, yes, I was happy. Education moved online. You see, or perhaps not, I'm stuck in bed. I'm autistic. I'm dyslexic. I'm an introvert. I'm immunodeficient. So few people bothered about me before the pandemic. I love COVID-19. It is so tiny, yet so powerful. It made this world halt. Literally, everyone was living what I have always been living. Now I'm scared. I'm scared seeing people without masks. I'm scared seeing people scoffing around. I'm scared that people will forget about me again. I'm scared that people will forget how I feel again. I'm scared that you will forget. Do I have time to for a bit of other information on this poem? Absolutely. I actually put it in a blog post. I'll share with you and all if they want to link to this. It's a bit around, I've put a bit of reflection at the end of the post, which is I actually did a little heart here. It's half a heart on both sides. And then there's forget me not with, which is struck through, which often when we work around discrimination, it's only like when we see it, then we think, oh, there is discrimination there. Then we forget that. One of the things that I wrote that I specified here is one of the things that is many times misunderstood is that in the UK Equality Act, disability and equality is the ground that has anticipatory duty. And my questions, because this is an alt-pre-conference event, my questions would be to learning texts who will be watching this recording and even people who are presenting today about what is your, I put A-B-D-E-I-J, which is in reference to equality, equity, diversity, inclusion, access, justice, belonging, however you want to name it. What's the work you're doing at the moment? And what are all these elements in your, are there these elements in your current work? Are you questioning those theaters cool? And what does this mean to you? And I myself have an alt-conference presentation that I'm presenting on the 8th at 3.30, where I'm presenting on a skip your sleep. It is 23.59, which has got to do with assessment deadlines and intersectionality. Thank you for this. I think, Pip, do I have time for the second one? Yeah, definitely. Go for it. Okay. So this one is actually a second-time presentation. I presented it, I think it was a well-creativity day. And Pip organized an open mic, and I asked if I could present it again. So I'm just going to read it. And there is a recording, again, a post-web explanation. I notice, I notice the color of my skin. I notice the color of my hair. I notice the color of my eyes. And whoosh, whoosh, whoosh. I notice the shape of my body. I notice my disability. I notice my rasta hair. And shush, shush, shush. I notice the touch on my face. I notice my burly figure. I notice my extreme piercing. And ack, ack, ack. I notice the rashes on my face. I notice my skin burns. I notice my patch eye. And burk, burk, burk. I speak of how I feel. I speak of what I need. I speak of clarity. I notice. Whoosh, shush, ack, burk. Until I notice the color of my blood. Where can I see that? I see it in them. I'll do a little explanation to that, but I'm just going to quickly say the last three lines, which is, as humans, we've all got the same color of blood, but yet, you know, the eye, the eye's noticed all the physical preferences. where a lot of discrimination happened. And the one before law sentence is, kudajana yasupen, which means it's read. And yana kudu me sarvanenide is trying to find it. So English meaning for this, but it kind of means, like a face palm action, kind of, you know, what is this? Thank you. Thank you, everyone, for listening. Going to share my screen now and have it on to Pip. Thank you. Thank you very much, Dee. I loved it the first time for the creative higher education open right. And also, when you sent through the blogs, the blog posts that you wrote, to explain the rationale, I really got into it at a deeper level. And I really liked the idea of this, the power of noticing. So thank you very much for that. And good luck for your presentation. Super. Thank you very much. I'm going to go ahead and share screen very quickly again. So thanks, Dee. Someone's having a laugh. Right. OK. Moving on to the blog posts. I'd like to invite Anna Somerset to perform her piece. Anna, would you like me to stop sharing screen? Yes, please. Yes, could you? I'll share mine. So that's done. Just see if I can show them in you. Where are you then? Can you see my screen now? Yeah. Brilliant. So I'm going to play something just before I do my poem just to set the scene. Oh, dear. Will it? Oh, dear. It's a YouTube hyperlink control click. Oh, dear. Can you tell them what love I am? Right, oh, it's coming. Oh, we've got the advert. Sorry. Oh, dear. Sorry about this. Grammarly makes editing one place at a time. Right, here we go. This is what I wanted you to see. Really old school. This is the technology I grew up with. This is the highlight of my technology. Right, I'll leave that now. Right, so it's called. Oh, gosh, how do I get rid of that? Right, so let's go back. It's called Before We Played Pong. That was Pong, by the way. At the high tech party, the game we played was Pong. They said it was like tennis, nor were they completely wrong. There was a bleeping and a weeping pain of failure even more prolonged. Before you played Pong, said Bum, there was Leonardo da Vinci, an artistic technocrat extraordinaire since he was just the painter of Lisa the Mona, wasn't just the painter of Lisa the Mona, but designer of calculator, copter and powering solar. Mum was not like Leonardo. Her etchings were just a people, but her feature as a teacher was to inspire creativity and dexterity amongst young human creatures. Under Margaret Thatcher, bigger pictures came to play to overshadow Mum's art room, craft, design and technology thrust into the fray. Mum was in her 50s and retraining was quite hard. Digesting, controlling things, artifacts and systems, her psyche got a bit scarred. Undaunted, she persisted and came across the great scientist and designer, Professor Heinz Wolf, who visited her school to inspire young girls to emulate this egghead prof. Indeed, some became designers of functioning gizmos and stuff, computer games, bleeping products, not just art to quaff. At 90, Mum's a dreamer and dreams about her youth and her ageing daughters just the same, but playing pong will never feature in her slumbers, ain't that the flaming truth? And this is just a quick video of Professor Heinz Wolf talking, who was a real forerunner of technology teaching. If you can just 30 seconds, I'm not sure how commonly we're from making... Oh, to excretion. £2,000 a month in a short period. Let's keep on making that story. Well, I am very concerned and have actually spoken to the chairman of university committees about this, that by neglecting the fine manipulative work which our hands can do, if you look at the surface of our brain, you've always got a hand-sized impression of the side of the context which slows our fingers, that I believe, and so do other people, that there is a good correlation between manual dexterity and mental dexterity. If we neglect the practice of manual dexterity, we may be taking a step backwards in all the homo sapiens' roots. And I'm really worried about it. But that's what he said. Anyway, back to another poem. So that was Heinz Wolf speaking, who was a technological genius in his day. So this is my early experience with IT in the classroom, which was going back a long time, as you can see my... So it's called Back to Basic. Basic, the binary language. And I were born in 64. When I started learning since 76, it seemed a massive bore. The obese and ugly computer, worshipped by the math tyranosaur, found communication with us, an absolutely enormous chore. Sorry about this. Silly dexterist. So 1-0, 1-0, 1-0. 0-1, 0-1, 0-1. Inspiration gone, nil by brain, and not love at all, not love all. And that's a picture of the dissolved binary language that we had to sort of put up with. So technologies come on a long way, but that's my take as an old dinosaur. That was it. Thank you very much, Anna. I'm sure we can all relate to that when it all goes wrong. And it feels like you're supposed to be really positive about it, but then it's not going well. Retro games are really fun. So thank you very much, Anna. You're welcome, thank you so much. Thank you so much. I'm going to go ahead and share screen again. Right, so next up we've got Wendy Tellio. So Wendy submitted a pre-recorded performance. Wendy is working on learning performance which is based in Australia. So due to the time differences, the pre-recorded options seem to make sense. And so what I'm going to do is I'm going to share performance lines, hopefully with some sound on her behalf. Sunset Shades by Wendy Tellio. As I stand drenched in the colours of the setting sun over the desert in central Australia, I contemplate the miracle of technology that is bringing me to you right now. I'm inspired by the rich ephemeral colour of the setting sun to perform this monologue about my experiences as an educational technologist. In the practice of the Brickaloo, I collect original material from the bird side, poetry and blog posts I've written. Nothing is original, right? The act of brickolage is to use what is at hand and create or bring something new into being. My work in ed tech is often the work of the Brickaloo, collecting the right information, having timely conversations and finding the material just a little bit faster than my audience. I've recently completed a site profiling survey. You know the sort. You feed in your like art scores and it spits out a neat little code, a quadrant, a title, a neat little box for you to fit in. This does not fit well with me. Can we learn from these boxes? Does it help me work with others if I know others are in the same box? In the years of working in ed tech, what I come to appreciate is the diverse nature of those in the same work. We come scattered yet entangled. Embracing technology as an entanglement in our work, just as I come to you over the airway, facilitated by the tech and always acknowledging the social, materiality and the place that they for the humans around it. Yes, that's the tin horns reference, right there. Taliyo, his internet moniker, is a colleague who I've never met but continue to meet through lines of sight. He lives on a different continent but our experience in the education field often collide. He recently highlighted a tweet from a HR executive that wrote about this type of profiling and whether it's necessary in the work plan. Taliyo wrote in his blog post, predicated on why are we not enough. In return, I wrote this short poem. Poetry and blog posts often get lost in Twitter like leaf litter, mulching at the base of a large tree. I know not how but the river of wind has blown its leaf to land at my door, lodged under the mat. I completed the survey, disks like indeed, it bounces the harsh light of my faults back at me with pretty solutions of what to do next time. Why am I not better than I am? Perhaps I am enough. Perhaps we are smart enough, human enough to play nicely or be the sharpening stone when the knife edge dulls. Can I be the promise of the rosebud? Why am I not better than I am? Part of the role of the educational technologist is to work with others to encourage the use of appropriate technology. This is often under the banner of the enhanced part of technology enhanced learning. Reference here to Sharn Bain 2014 and her article What's the Matter with Technology Enhanced Learning? In higher education, we are still in this and I quote from her article, complex and often problematic, constellation of social, technological and educational change. In this next poem, I entangle the aspects of the role of the educational technologist in facilitating change with the seemingly unchanging and hard nature of the physical materials that we use, keyboard, mouse and screen. The poem titled Change Driver. I am a change driver. I pick up the screwdriver, fitting it into the screw, work, work, work, sharing my learnings, connecting with others, moving their journey along, along, along a path of building or repairing, deconstructing or making. Think, think, think of the future. We push towards the unknown, filling the necessity, burning, burning, burning into our fingertips, onto the keys. Keyboards show no suffering, suffering, suffering. Just a few scratches, worn, smooth patches, our eyes glassed over, fatigue hits at the end, end, end of the day. As we prepare for another marvellous melting pot of learning technologists interacting at this conference, may we be able to see our colours, appreciate others for the unique contribution they bring to the table and continue to connect, collate and create inspiring work in our fields. Wendy Talio, the monologue and poem, from monologue to technologue, exploring their ideas about being a learning technologist, really powerful idea of entanglement and how to kind of navigate all of that when we work with learning technology. And perhaps we are entanglers and have to work with this complexity. So many thanks to Wendy for her pre-recorded contribution. Oh, thank you. I wanted to invite Deborah to perform. Deborah, would you like me to share the sound link? Oh! So, Dr. Deborah Arnold. So, one would be a thing, I'll just put the link, to Wendy Talio's song about age. She has some other really interesting pieces there, just in case you want to check that out. We'll just wait for Deborah. I think it's a collaboration that was a co-creation with some words she put together and some music with her husband. So, we'll just wait one moment. That was the link to Wendy's, yeah? Yeah, I just popped that in the chat. Great, so we can have a look at that, yeah. Order, please. The party's almost over. A red-haired girl swirls a dervish dance. Alone in her own wild world. While phantom lovers smile sweetly on. The last order of the night. The party's almost over. A red-haired girl swirls a dervish dance. The last order of the night. The party's almost over. Alone in her own wild world. While phantom lovers smile sweetly on. Last order, please. The night is almost through. A coaxed-in ex-guitarist of an almost famous band seeks solace in Southern comfort. To memories of backstage glory. Last command of the night. The party's almost over. For the guitarist, we'll go. Hero of a band, almost forgotten. Last command of the night. The party's almost over. Southern comfort. To memories of backstage glory. Last order, please. The night is almost through. Then back to mine. Then it's too late. It's almost closing time. A weary couple growing old. Miling, give her favorite song. Leave their wine, get up to dance. Last command of the night. Too late. The music fades. Too late. The music fades. Too late. The music fades. Gentlemen, time to go home. Thank you. We got it working in the end. Maybe needs a little bit of context. It's not an ed tech theme, but it's a little autobiographical. It's an insight into my life collaborations with my husband who is the musician and the singer who put this on his album. And the way we did a kind of mash-up, starting from this poem that I've written, which in itself is autobiographical. I did it in English. And then he decided to put it into music and felt that he needed to sing it, but couldn't sing it in English. So he translated it under this adaptation in French. So it's like a conversation. I do the spoken word and then he sings it. I think the lyrics are actually on that page, the English lyrics. Maybe the French as well. Really, it's also, if we could look back at lockdown when we were doing this kind of thing, the support I was doing my PhD at the time. And this was a way of getting through that period and having somebody that I could just be and create with who happens to be my husband as well. And that really got us through. And at the end of the day, I'd finish off working on my PhD. He'd come out of his studio. We'd put songs like this on and we'd be dancing in the living room during lockdown. So there you go. Those are a few insights into that. Well, it's brilliant. I really like the studio queen. It's absolutely brilliant. Thank you so much. And in fact... Oh, and the one last thing is feeling mutually, respectfully proud of each other for the work that we were doing during that time. I think that's really, really important. Highlight. Nice one. Yeah. If you want to collaborate, we could write some songs together. I'd love to join your band. Great. The open mic as a methodology. So learning technology. And as learning technologists are passionate, I guess, about both of those things. And even if we're not learning technology, we've grown learning technology to improve the learning experience. And I just wondered if we could have a quick discussion before we... Headline Act about the open mic. Let's interrogate the open mic because the methodology is an approach to pedagogy. So earlier I said that maybe the open mic is inclusive. It's an accessible approach. It's unfurlable. It's out loud. It can take place online, offline. You know, it's collaborative. Everyone has a voice. Everyone has a seat at the physical table. And I just wondered if we could all unmute our mics and maybe have a bit of a discussion about how you perhaps... Would you open mic approach in your own pedagogical context? How would you use it with students? How would you use it with staff? Is it something that you could adapt and personalize? Is it something that can be differentiated to meet learning needs? Anyone got any sort of strong thoughts or anything you'd like to share? Well, as a participant in this, I think what I like about this and I think in general, non-traditional formats for conferences is that, you know, when you go to ALT and other learning conferences, but especially ALT, there's a kind of a sense in which to be really legitimate, you need to be an academic. You need to do something academic. You need to cite research. You need to kind of sound academic. And which, you know, in a way ultimately undermines some of the things that ALT should really be about and be questioning. And when you do another format like this, it sort of opens up a new set of criteria for success and, you know, new ways that I think it kind of allows different ways of talking and different kinds of people, different kinds of voices to express themselves. And so I think it's... I always enjoy it. As much as I also, to be fair, I enjoy conference presentations too, but when someone tries to do something in any kind of other format, I think it can feel very refreshing. Thank you very much. Is there anyone in Manchester at the moment? Is there anyone going to the conference? No, unfortunately not. It's online on me, for me. There was, yeah, something, I think so, maybe more. Just like to add perhaps about different ways of bringing in what we've been doing this evening. I think all the contributions that we've hired to remind his poem, Anna's poem, and what was the one that you shared as well from... Who was that from? Let me go back to the programme. From Wendy. All of those, I think they should be on a learning technologies curriculum. They should come up and they should be played and discussed as part of it because they are ways of stimulating different ways of thinking rather than just the standards, traditional way of going through learning design, learning technology and everything, and to get those people discussions going. And perhaps if people are willing to put those up as examples and then to get engaged in the discussion, then that might encourage more people to be brave enough to take that creative road as well. So, that was just my thinking when I was listening to the contributions that we've had so far today. Thanks, Deborah. I think you're right. The creative path does require large doses of bravery and radical vulnerability. But the creative route is that it really speaks to me and I really enjoy hearing that people are going to work particularly around learning technology. We've been experimenting with the idea of technological ethics, combining technology and poetry, and now I'm going to announce you as... You're flipping over. Right, so, roughly how it is to alter, see, open like, and experiment for video poets. He's also seen the lecture at the University of London. Lee's been a very good part of my journey into the London poetry scene and also exploring technical ethics in terms of using Zoom as a platform for creative contribution. It's a great pleasure that I'm able to be the headliner. I'll go ahead and stop sharing screen, Lee. Yeah, yeah. Okay, well, hello, everyone. Yeah, so thanks for that introduction, Pip. I think it might be nice for us to... just to share, first of all, how me and Pip managed to get to know each other. It was by doing a Zoom open mic poetry thing for Right Out Loud nearly two years ago, and I was playing around with technology very similar to what you'll see today, using the visual green screen of Zoom and combining that with poetry. Pip was also doing, speaking poetry, but she wasn't just doing the poetry. She had a visual aspect to what she was doing. And, yeah, we found such a real synergy in terms of our interests and our kind of, I suppose, quirky approach to technology as well. So as Pip mentioned, I work at the University of the Arts London and my role is supporting students. I work in... I'm a lecturer in academic support and a lot of that does include technology. So I find all of these different discussions really, really interesting. So without further ado, you're probably wondering why I've got a McDonald's hat on. It's not because I'm an advocate of McDonald's or, you know, I'm trying to be trendy. My poem this afternoon is... Well, it has... it features McDonald's in it. And it is... Yeah, it certainly has an auto-ethnographic approach. All of my Zoom performances that I've been doing for the last two years have really tried to use this platform as a way of sharing personal details, personal stories, the kinds of almost immersive storytelling prototype. And, yeah, from just doing it on these kinds of open mics, different platforms, I've now gone on to perform iterations of what you'll see tonight at festivals, including the Prague Biennale. So, yeah, it just shows you what you can do on... I think when we came into lockdown, in the first lockdown in 2020, coming in this kind of space has almost seemed like a substitute or a kind of secondary for the physical world. But for me, it's actually being the thing that's really transformed my practice. But then going into the back... or, let's say, back into the physical world was the first time that I performed poetry physically, and actually it was a paper tiger where I met certain people like Anna. It was just... it brought in a whole other sort of set of dimensions of actually having people in front of you laughing and actually, you know, completely different than the kind of sort of, yeah, what happens online. So anyway, this is my performance. It's about 15 minutes and it's called Covert Operations and I hope you will really enjoy it. I.I. I.I. I.I. Discover the same I while creating the same peeping discover the same other whilst under the cover crimping seeking, peeping covert operations my teenage fascinations awkward alterations with non-queer populations sensations that taught me if ever they caught me. I got very clever very clever at seeing creeped without the ceasing peeping during a natural stint I perfected the art of the squint escaping the gloom in the male-changing room who was late night before the first time I saw this guy from the drama script at his block I thought it rude not to glance what's under his pants couldn't explain my eyes for on lock he had that grammar school voice my co-workers despise so given worse job in the kitchen and the station done fries every time he said skipping the on-board or flipping yet it allowed me some spy in at grammar guys for getting sweaty eyes cooking I couldn't stop looking at grammar school guys with the flames of my beard that's in a burger in the middle creeped announcement we'll go to the freezer get more burgers I could easily reach them but ask grammar school guy hey hello those burgers in the freezer they're up ever so high I need some assistance do you mind coming with me out back I need a tall guy like you reach up high for a stack when he said yeah and put his apron back on the rack my mind started seeing his sexy six pack down towards the way spin paths where they dump all the fat is the stock room to escape in and have a quick nap it's where my friend who works on shapes we call him look flurries Matt caught the manager and the cleaner right in the act now alone in the chill room with the frozen burgers grammar school guy was shivering in his McDonald's cat almost as sexy as seeing him straight down to jock strap when he reached over a bowl of plastic bubble wrap I wanted to give his bubble bottom a slap as the Irish say he's got writing for crack the harder I got made my mind so snap I had him out of my lap despite my great fly I had grammar guy on tap then Ronald McDonald stopped me there in my track there was his costume hanging up over there by a rack I got over to my legs to pluck up the courage and say how about you putting it on and we do some role play so my utter amazement he started stricking right down and in a couple of minutes he was dressed up as a clown playing the sound all Americans speaking in yank he said I'll be Ronald McDonald you be little boy and said do you want me to size up your fries and give me some big boy tits but then my eye caught the sight of hanging butchers knees and all I could think of was murder, murder seeing cows hanging up to be maimed into a burger baby calves being born thinking they've got all the luck grazing in day in green fields from sunset to sun up then with their brothers and sisters they made into a quarter a quarter pound burger so just for a buck no methodings we're not loving it your ethics suck you sent a great murder from baby before she takes it for a crock it's like saying oh I love Daffy and Donald I've been tucking to duck I've done it you know if my fly hadn't got stuck it felt rather calmer so I said yes yes you and so I said thanks I'll see you back in the kitchen I need to go for a plan and I left with my thoughts and I think we'll leave and then imagining him still in that Ronald and McDonald's disguise us now back in the kitchen as I flip burgers with Megan she calls herself even she may flip these burgers whilst claiming she's even I do it for the money she says I just flipped my teeth but Megan that looks even you're easy to fit it's rather like this summer 1993 same train in 805 from Layton central lines Oxford Circus where I alighted to do work experience in mind crushingly boring off his job the stretch between Layton and back he would always get on and that's when a fool woke up to my senses he always sat in the same suit with all his eyes closed I had him approximately 40 minutes before he would alight a topman for the world about 3 minutes of him fall through without distraction as a child easier to dance where someone would always shout move down please and my view of him would be blocked by a splice from himself and then I would have to enjoy him at partial gaze what if he opened his eyes and saw the reflection of my mobile phone how the screen in the window behind me where I was sitting opposite him recording him under cover I've never seen the colour of his eyes in gay Pallari slang the colour of your eyes means the certain size of a certain part of a man's anatomy so in this sense I could see or rather speculate through those beams the colour of his eyes topman for the world the balloon pops I feel let down I've had my daily fix as the train proceeds towards Oxford Circus I've never the cover the same colour whilst coming back to see you're matched you're matched you're matched you're matched you're matched you're matched you're matched you're matched you're matched growing up the gay scene I got very clever clever at not being seen thinking covert operations were all on me but I seemed like quite the opposite this summer of 93 doing work to experience the DJ cells beardom I've had a scratch because of Tails you're matched too soon you're matched you're matched you're matched you're matched you're matched you're matched you're matched Andrew and Bobby and John in their London office, signing gold on its walls the words, leakage, satisfaction, profits. You are there to stop me from being a visitor. Staff announcement on behalf of the police, contact customer services. I shared my desk with Bobby, always sat at his computer, all day browsing Gator to find his next smell suit. Bobby's own idea of the word satisfaction was how far he would go to get some action from the time he clocked in to the time he would go. All I could hear over our desk was, you're matched, say hello. John, contact customer services. John, customer services. All you are there to stop me from being a visitor. Staff announcement. John, report to the manager. Then there was Andrew, a timid man, who ate cold baked beans for his lunch every day, straight out of the can. He had two kids and a wife that led a double life. He couldn't wait for work late, they'd come quarter to eight. He was out on his date with his muscular daddy at the King's Arms pub, where Andrew loved being daddy's little boy cub, spending the hours before, on the floor, and his fantasies of daddy in pencil drawing, hoping that as he was doodling the manager, ignoring. You're matched, say hello. You're matched, say hello. John, you're matched, say hello. Boss, you're matched, say hello. Little, boss, you're matched, say hello. Little, boss, you're matched, say hello. Little, boss, you're matched, say hello. I remember our manager, I just came to get eaten, he let's tell everyone to sell bread for a piece of his eating, a spoon and a chateau, doing tunes as a book, and he can say it's their short, he did what hell ever looked. But Mr. DJ, Billingham Jones, to me, was not thought to have seen, when I discovered he was having a good time with shows of tunes, walking in the second office through the hours, I like, and in the hands of the scots, he was in a proper shop. He was waiting in the job search for anyone's shortage, but then he was just getting satisfaction, and he said it's my pudding, and I'm scared, I'm scared of the stories I've heard about him. Use your imagination, you won't be far wrong, the message is clear, you can't find what's on her hands, but those corrupt operations, they're like, I'm using your nose. Hi, I'm Sam, I'm Sam, Hi, I'm Sam. And that's the end, thank you. Well, my LED glasses are displaying a message, which is, well, then you had visually with, sharing the love, that was absolutely outstanding, multi-modal, incredible. Do you want to give us some... I think I saw... Yeah, just... Give you some idea, incredible. Thanks. Yeah, I kind of failed to make... Well, I normally do this as a kind of introduction, but yeah, all of the images that you see are from my personal archive as an artist, from over 25 years. So, yeah, so I basically trained in painting and fine art, yeah, well, 25 years ago. And, yeah, I had quite a successful one. Yeah, quite a successful career actually as an artist. But then I got into performance when I did my MA at the UCL, at the State School of Fine Art in 2005. And I kind of let the sort of painting and drawing and the fine art side go a little bit. But I love performance and I love the kind of, you know, interaction that you can have with the audience. And in, yeah, so I kind of... My PhD was exploring performance and relationship to pedagogy and thinking about, yeah, thinking about a pedagogy of discomfort and using discomfort or uncomfortable situations within pedagogy as creating critical thinking moments. Because I don't think that when we're learning, it's not always a... It can be an uncomfortable thing and that discomfort or that discomfort can actually be... You can turn that into something very... You have to kind of go to what I call a space of radical not knowing, which can be quite uncomfortable. So when I met Pip, I just had finished, well, I just published a book called Leak into Action, which was... And Karen will know this because my lovely Karen Harris is in the audience, is my colleague at URO. It was a book about critical performance of pedagogies and, yeah, looking at what I was saying earlier about discomfort as a disruption as a critical thinking tool. That was basically in three sections of the book. Disruption as a critical thinking tool. The second section was about senses and affect and the body within teaching and the importance of haptic learning environments to create kind of inclusive spaces for, you know, because not all students are visually able, not all students are physically able, you know, we have to think about it. But the third section was called Techno Participation, which was all about, yeah, critical digital performance of pedagogies. And then of course, you know, what happens two months after the launch? It was launched in December of 2019. Two or three months later, well, we all know what happened, don't we? And, yeah, just couldn't believe all the things I was talking about disruption and participation and technology were like, oh, it was in the face, wasn't it? Particularly those of us that work, well, I'm not just going to say with students, I'm all aspects of education. Those kinds of concerns were like thrown right into before. It wasn't just a case of theorising about it. You have to do it and learn because, you know, the only way, well, in fact, most of my teaching, all of that, all of my teaching in 2020 and 2021 was online. And it's only been this year that I've managed to do some physical teaching, which has been, yeah, wonderful. But also kind of reminding myself or remembering the etiquette of being in the physical space. So when I met Pip, which was just a few months, in fact, it was a little bit after that, it was about six months after. I started to make films because, I'm sure for many of us, we didn't have the necessary resources that we could have in the physical world. So I looked back at my archive and I started to remix and recycle these paintings and drawings and the kind of the audio that you heard in the production performance tonight to make those into short films. And I started to send them out to different people and the responses to the preferable and all these different film festivals. And it was fantastic. Well, I really missed performance. So when I met Pip in, she had come, I think it was January, 2021. It's just after that Christmas. And I did, I started to combine the poetry and the, so what you see is, well, the way it says I had green screen video, the films that I made in that period in 2020 and 2021. And actually there's new stuff. There's not just the old stuff in the cycle. Yeah, it's kind of a constant remediation all the time. Everything gets remediated and it's just, this was wonderful to be looking at stuff where I was making 30 years ago. Like for example, at the end, where in the office and all of those pictures of the people sitting down at their computers, they were paintings that I made when I was in my early twenties. That's like, you know, mid-90s. And sort of really to reimagine what those meanings could be then, but what happens now? So yeah, it's been incredibly, because of forciveness to, yeah, kind of forciveness to be in a space of developing methodology. I think methodologically survival tactics, to be honest. And what do you do when you're, I suppose we've been forced to almost be like bricolors. And I love that kind of logic, because it means forcing yourself to use what's at hand. And so that's what I do, what's at hand to me. I suppose it's the materials that I've already produced and recycled. But it's also about the content as well. So I've never made work until, I mean, two or three years ago when I started writing poetry, none of my work was explicitly about my identity on myself. It wasn't an autobiography. I was very interested in writing about the other and other people. I'm working with different kinds of communities, but never about the quick community and certainly not about myself. So for example, there's quite a lot of very personal details in what you've done tonight. But it's also a space of fiction as well. And I'll let you use your imagination about which one's the slightly fiction ones. And yeah, most of all of those experiences that you heard tonight are based in fact. So I wanna say, I think it's a brilliant idea that PIC is trying to take this kind of format of the open mic, which yeah, just sort of going back to that question we had earlier was about what are some of the possibilities of it? For me, the open mic, I suppose when I started doing it was something that would be quite playful and quite casual and try out and be experimental and be like a laboratory, which it still is. But then because I can't do what I do, what you've seen tonight in the other worlds, in the physical world so easily. And so I love these few open mics because I can really take advantage of them. I treat them not just as these casual spaces but as spaces of real height and creativity for me. And it's been, yeah, it's just amazing to think how they've transformed from being these little kinds of, yeah, two or three minute things. So now, I mean, what you saw tonight was only a section of a much longer performance, which is almost an hour. So you can imagine how I feel after that. So Pete, thank you so much for inviting me. If anyone's got any questions, you can talk to Pete, so I'll put my details into the chat. But yeah, actually, 15th of September, I think it's at half eight PST time. I'm doing a live stream performance for Prada Bionale, which will be similar to what we saw tonight. But yeah, have a look at that, that should be good. Right, that's enough. And yeah, my glasses are still working. So basically, the problem we had was that the on and, like literally 10 minutes before I was due to go on, the on and off button died, but we've managed to switch them on, but we can't, we won't be able to turn them off. So they're gonna be on all the time there. But I quite liked it in the performance, where I think they started to come off and slide off, but it's quite interesting the moments when that happened because it actually related to what I was talking about. So yeah, so sometimes rubbish technology can actually be some advantage. Not rubbish, but just, yeah, the kinds of belay-fi and the DIY you can use for theatrical effects. You can customise the message. And if you download the app, I think it links by a view polluted. So I think you can add text and a variety of customised content on the LED sunglasses. They're very cool, but like I say, I won't be able to turn it off. So I'll have to have to be on all the time because the on and off button's died. So I think that's quite funny actually. And I can't really suspect in, so it's only gonna be on there. Keep them on, they're great. This person doesn't have LED sunglasses. So I just wanted to say thank you very much to everybody who turned up for taking part in performing, supporting, taking part in a critical discussion. This was the first ever Alp C Open Mic experiment. I like the word experiment because we can explore possibilities. And so thank you very much for that. Feel free to tweet about your experience on the hashtag again is just Alp C. And I think you'll see it's Alp C. Hashtag Alp C22. Thank you very much for being brave enough as Deborah said to share your creative work. I absolutely love the opportunity to hear and people's original work. If anyone's interested in exploring the idea of techno board, or techno water, ethnography, feel free to get in touch. The rest of the conference is happening in a hybrid capacity this week in Manchester and online. They also do other conferences as well. They do an open learning conference exploring open resources. And there is a winter, an online winter conference as well. Please be sure to check out the ALT radio show live on the Thursday night show this Thursday from six. And a huge thank you to Dr. Lee Campbell for that multimodal performance. It's one of my favourite parts of that I've seen before. And it's one of my favourites. Love the robot voice and the elements of Osweath number three and the way he reads it together and uses the green screen in such a creative way. It's just so... I did ask in the chat about how do I do it. And I just wanted to say, Deborah, I would love to say that it's like really complex, but it's not. When you go on Zoom, if you go to where it says preferences and it says backgrounds and filters, if you click on that, it's got a tab called virtual backgrounds and you click on that and it says add video. And so all you do is add basically a video. And so, I mean, like you've seen people have that or that. And I thought, right, well, I don't want to look at that. So I thought, what would happen if I put in that? And of course, something magical happens. And yeah, for something so sort of erudite and I think also because it's a, you know, it can be Zoom technology in terms of communication can be so deadening. I love the fact that I've managed to find something slightly creative within it, but there we are. Yeah, it's not sophisticated at all, but I quite love the fact that it's not sophisticated and anyone can do it. Brilliant. So I hope you enjoy the rest of the conference and maybe we'll meet again in the Zoom universe in the not too near distant future. Thanks everybody. Bye for now. Thank you, Pip, for putting this together. Yes, yeah. Thanks so much. All right, everybody, let's go in there, put the kettle on and have a nice cup of tea. Have a nice day. Bye. Bye. Bye.