Föreläsning, Läskonster

1. barns !gitala rum
Örebro & Uppsala, april 2008
Patrik Hernwall
Södertörns högskola

2. h t t p : / / w w w. s l i d e s h a r e . n e t / h e r n w a l l · p a t r i k . h e r n w a l l @ s h . s e · h t t p : / / m t . s h . s e / h e r n w a l l

3. fråga
vad använder unga
digital teknik till -
och vilka tekniker
använder de?
1
h t t p : / / w w w. s l i d e s h a r e . n e t / h e r n w a l l · p a t r i k . h e r n w a l l @ s h . s e · h t t p : / / m t . s h . s e / h e r n w a l l

4. på rummet
20
15
3 timmar eller mer/dag (%)
10
5
0
TV internet datorspel TV-spel video/DVD
h t t p : / / w w w. s l i d e s h a r e . n e t / h e r n w a l l · p a t r i k . h e r n w a l l @ s h . s e · h t t p : / / m t . s h . s e / h e r n w a l l

5. homo zappiens Wim Veens
h t t p : / / w w w. s l i d e s h a r e . n e t / h e r n w a l l · p a t r i k . h e r n w a l l @ s h . s e · h t t p : / / m t . s h . s e / h e r n w a l l

6. Barns vetande har förändrats:
mångfaldigt och bildmässigt
känner till allting innan de kan göra
egna erfarenheter
”De är på en och samma gång ”brådmogna”
och fattiga på direkta erfarenheter.”
Thomas Ziehe, 1989
h t t p : / / w w w. s l i d e s h a r e . n e t / h e r n w a l l · p a t r i k . h e r n w a l l @ s h . s e · h t t p : / / m t . s h . s e / h e r n w a l l

7. ”Through satellite TV a human being
can be in all places, see everything –
at the same time. Earlier this capacity
was exclusive to God.”
Morten Søby, 1998
h t t p : / / w w w. s l i d e s h a r e . n e t / h e r n w a l l · p a t r i k . h e r n w a l l @ s h . s e · h t t p : / / m t . s h . s e / h e r n w a l l

8. h t t p : / / w w w. s l i d e s h a r e . n e t / h e r n w a l l · p a t r i k . h e r n w a l l @ s h . s e · h t t p : / / m t . s h . s e / h e r n w a l l

9. we think
h t t p : / / w w w. s l i d e s h a r e . n e t / h e r n w a l l · p a t r i k . h e r n w a l l @ s h . s e · h t t p : / / m t . s h . s e / h e r n w a l l

10. redskap
2+3=5
h t t p : / / w w w. s l i d e s h a r e . n e t / h e r n w a l l · p a t r i k . h e r n w a l l @ s h . s e · h t t p : / / m t . s h . s e / h e r n w a l l

11. redskap
AaBbCcDdEeFfGg
HhIiJjKkLlMmNnOo
PpQqRrSsTtUuVvW
wXxYyZzÅåÄäÖö
h t t p : / / w w w. s l i d e s h a r e . n e t / h e r n w a l l · p a t r i k . h e r n w a l l @ s h . s e · h t t p : / / m t . s h . s e / h e r n w a l l

12. redskap
h t t p : / / w w w. s l i d e s h a r e . n e t / h e r n w a l l · p a t r i k . h e r n w a l l @ s h . s e · h t t p : / / m t . s h . s e / h e r n w a l l

13. från tv-tittare till
dator-användare
h t t p : / / w w w. s l i d e s h a r e . n e t / h e r n w a l l · p a t r i k . h e r n w a l l @ s h . s e · h t t p : / / m t . s h . s e / h e r n w a l l

14. kollektiv intelligens P Lévy
h t t p : / / w w w. s l i d e s h a r e . n e t / h e r n w a l l · p a t r i k . h e r n w a l l @ s h . s e · h t t p : / / m t . s h . s e / h e r n w a l l

15. fråga
vilken roll, eller
betydelse, har detta
användande i
ungas liv?
2
h t t p : / / w w w. s l i d e s h a r e . n e t / h e r n w a l l · p a t r i k . h e r n w a l l @ s h . s e · h t t p : / / m t . s h . s e / h e r n w a l l

16. tweens
h t t p : / / w w w. s l i d e s h a r e . n e t / h e r n w a l l · p a t r i k . h e r n w a l l @ s h . s e · h t t p : / / m t . s h . s e / h e r n w a l l

17. “The pop-culture is
the major symbolic
homeland.”
Ziehe, 2005.
h t t p : / / w w w. s l i d e s h a r e . n e t / h e r n w a l l · p a t r i k . h e r n w a l l @ s h . s e · h t t p : / / m t . s h . s e / h e r n w a l l

18. ”The informational society, in its historically
diverse manifestations, is only taking shape
in the twilight of the twentieth century.”
(Manuel Castells, 1996)
h t t p : / / w w w. s l i d e s h a r e . n e t / h e r n w a l l · p a t r i k . h e r n w a l l @ s h . s e · h t t p : / / m t . s h . s e / h e r n w a l l

19. the machine is us
h t t p : / / w w w. s l i d e s h a r e . n e t / h e r n w a l l · p a t r i k . h e r n w a l l @ s h . s e · h t t p : / / m t . s h . s e / h e r n w a l l

20. h t t p : / / w w w. s l i d e s h a r e . n e t / h e r n w a l l · p a t r i k . h e r n w a l l @ s h . s e · h t t p : / / m t . s h . s e / h e r n w a l l

21. informationssamhälle för alla?
h t t p : / / w w w. s l i d e s h a r e . n e t / h e r n w a l l · p a t r i k . h e r n w a l l @ s h . s e · h t t p : / / m t . s h . s e / h e r n w a l l

22. tre mediekulturer
✴ Typografisk mediekultur (ung. 1450)
✴ Elektronisk mediekultur (ung. 1950)
✴ Digital mediekultur (ung. 1995)
Olika sätt att processa, lagra
och presentera information
h t t p : / / w w w. s l i d e s h a r e . n e t / h e r n w a l l · p a t r i k . h e r n w a l l @ s h . s e · h t t p : / / m t . s h . s e / h e r n w a l l

23. “children meet a
cultural pluralism, that
constantly challenge
them to interpret
themselves”
Holm Sørensen, 2001
h t t p : / / w w w. s l i d e s h a r e . n e t / h e r n w a l l · p a t r i k . h e r n w a l l @ s h . s e · h t t p : / / m t . s h . s e / h e r n w a l l

24. h t t p : / / w w w. s l i d e s h a r e . n e t / h e r n w a l l · p a t r i k . h e r n w a l l @ s h . s e · h t t p : / / m t . s h . s e / h e r n w a l l

25. h t t p : / / w w w. s l i d e s h a r e . n e t / h e r n w a l l · p a t r i k . h e r n w a l l @ s h . s e · h t t p : / / m t . s h . s e / h e r n w a l l

26. “machines that offer identity
prostheses to redress the
burdens of physical “handicaps”
such as age, gender, and race
produce cybertypes that look
remarkably like racial and
gender stereotypes”
Nakamura, 2002
h t t p : / / w w w. s l i d e s h a r e . n e t / h e r n w a l l · p a t r i k . h e r n w a l l @ s h . s e · h t t p : / / m t . s h . s e / h e r n w a l l

27. “machines that offer identity
prostheses to redress the
burdens of physical “handicaps”
such as age, gender, and race
produce cybertypes that look
remarkably like racial and
gender stereotypes”
Nakamura, 2002
h t t p : / / w w w. s l i d e s h a r e . n e t / h e r n w a l l · p a t r i k . h e r n w a l l @ s h . s e · h t t p : / / m t . s h . s e / h e r n w a l l

28. h t t p : / / w w w. s l i d e s h a r e . n e t / h e r n w a l l · p a t r i k . h e r n w a l l @ s h . s e · h t t p : / / m t . s h . s e / h e r n w a l l

29. h t t p : / / w w w. s l i d e s h a r e . n e t / h e r n w a l l · p a t r i k . h e r n w a l l @ s h . s e · h t t p : / / m t . s h . s e / h e r n w a l l

30. h t t p : / / w w w. s l i d e s h a r e . n e t / h e r n w a l l · p a t r i k . h e r n w a l l @ s h . s e · h t t p : / / m t . s h . s e / h e r n w a l l

31. Robbie Cooper Alter Ego. Avatars and their creators
http://www.lensculture.com/alter.html
h t t p : / / w w w. s l i d e s h a r e . n e t / h e r n w a l l · p a t r i k . h e r n w a l l @ s h . s e · h t t p : / / m t . s h . s e / h e r n w a l l

32. The Body has become
“a site for exploration”
Pitts, 2003
h t t p : / / w w w. s l i d e s h a r e . n e t / h e r n w a l l · p a t r i k . h e r n w a l l @ s h . s e · h t t p : / / m t . s h . s e / h e r n w a l l

33. synligt ljus
h t t p : / / w w w. s l i d e s h a r e . n e t / h e r n w a l l · p a t r i k . h e r n w a l l @ s h . s e · h t t p : / / m t . s h . s e / h e r n w a l l

34. h t t p : / / w w w. s l i d e s h a r e . n e t / h e r n w a l l · p a t r i k . h e r n w a l l @ s h . s e · h t t p : / / m t . s h . s e / h e r n w a l l

35. ”Digital literacy is skills, knowledge and
attitudes in using digital media to
master living in the learning society.”
(Erstad 2005)
h t t p : / / w w w. s l i d e s h a r e . n e t / h e r n w a l l · p a t r i k . h e r n w a l l @ s h . s e · h t t p : / / m t . s h . s e / h e r n w a l l

36. tack för er uppmärksamhet
h t t p : / / w w w. s l i d e s h a r e . n e t / h e r n w a l l · p a t r i k . h e r n w a l l @ s h . s e · h t t p : / / m t . s h . s e / h e r n w a l l