I thought about how ds106 is not just a headless open learning experience. It's also a digital story. There are key players, like Talky Tina, for one. Each of the ds106 participants plays a role, some more loudly than others, but we all contribute to this ongoing narrative through our blogs, G+ posts, our tweets, our daily creates, and Flickr accounts, Soundclouds, the ds106 radio station. The ds106 narrative unfolds on daily basis, and we compose it together and individually.  The digital story works because we engage all of our senses; we create an experience where participants have various outlets to express creativity, to quench the thirst for life long learning, and perhaps a way to make life long friends as Talky Tina would probably say. Like a good digital story, ds106 has purpose, meaning and soul. When we participate, we feel we belong. There's a sense of community so we feel safe to take creative risks.
There's intellectual stimulation because we are teaching and learning with like minded individuals who welcome challenge, feedback, and want to actively engage in a global learning community. DS106 is a living, breathing story, evolving just as its members do each time they master particular forms of digital expressions. The story of ds106 works both on its own and as part of the larger narrative of what it means to be a connected life long learner and educator, a digital global citizen. 

                    
Bag Of Gold from Tim Owens on Vimeo.

Why do people not want a bag of gold? 

4.) Activities can facilitate reflection about a museum session- Students can use Twitter to tweet themes, questions, comments, critiques and more. They can reach out to connect with the artists to ask them questions as well, or use Facebook , Voice Thread, Google Hangouts, Skype, email to connect synchronously and asynchronously with other teachers and students around the world through written and spoken reflections. Podcasting, video-casting and blogging are also ways students can express their virtual or face to face museum experience. 

1. What do you see?
2. Why do you think the photograph is in black and white? 
3. Would the use of color have changed the tone of the work? 
4. What does the bed/room suggest about who sleeps/lives there?
5. What do you think the artist was trying to tell us?
6. Why do you think the artist juxtaposed the image of a bed and the Empire State Building?
7. How do you think Morell created the upside image effect in the photograph?
8. What is Morell trying to tell us about our perception of the inside environment and the outside world? 
9. What images would you pair together from the outside and inside world and why? What message would you want the pairing of your images to convey to viewers? 
10. How does your perception of the photograph change if we juxtapose it with Richard Blanco's poem "America"? 

• What was challenging? 

While asking the questions was easy because the students were quick to share their interpretations, knowing when to interrupt students to weave in contextual background posed a challenge because many of their responses anticipated questions I wanted to pose to lead into sharing the background information. For example, before I was able to explain the camera obscura technique Morell uses to superimpose images, Michael, shared what he thought the artist had done to create the upside down effect. I allowed him an opportunity to speculate, and then I defined and explained Morell's camera obscura technique.
                                          

A personal challenge for me involved having the time to prepare, research and gather enough contextual information about the artist, the piece, the camera obscura technique and even the poem and poet to provide students with the necessary background that would inspire them to explore all of these further. After our conversation, I found a National Geographic Youtube video explaining how Morell uses camera obscura, and felt had I had more time to prepare for the conversation, watching this one minute video during the conversation would have benefitted students in gaining a better understanding of the camera obscura technique, and would have possibly inspired them to create their own photography using the technique.  

Overall I was impressed with both Elizabeth and Michael's interpretations. They both brought up the topic of the work's tone without me asking them this very important question, and they cited examples from the piece to support why and how they thought its tone was somber. When asked what contrasting images they would pair, Michael said he would juxtapose the image of a lush forest with that of an industrial plant to convey a message about protecting our environment. Elizabeth mentioned she would pair the image of a tree house and a child's apartment bedroom to contrast how the lives of children differ in urban and rural settings.

Both Elizabeth and Michael had attended Richard Blanco's poetry reading in Vermont a few weeks prior and recalled the poem "America". When I asked them how this poem might influence their perception of the photograph, Michael talked about how the images of the plain bed and surrounding furniture revealed the hardships faced by immigrants and how the image of the Empire State Building bleeds into the living space overwhelming the inhabitants. Elizabeth pointed out how the plain bed sheets, and the night table both suggested a modest life and the Empire State Building invaded the space as a constant reminder for the people/person who live there to strive to live a better life.  

I enjoyed hearing Elizabeth and Michael's insightful analysis and without much reminding they offered examples from the photograph to support their interpretations. It was challenging to get them to pause and take their time to think. They preferred to offer responses seconds after I asked them a question, and we discussed why I wanted them to allow some wait time before they responded.

We closed the conversation with one activity because of time constraints. I asked them to tweet their questions, comments, interpretations, etc. using my Twitter account and the hashtag #artinquiry. Elizabeth asked if they could pose questions to the artist himself, which I had not thought about, and so they did. A few hours later, Abelardo Morell, the artist himself, replied to Elizabeth's tweet about what he meant to convey with "Empire State Building in Bedroom." His reply disheartened us a bit at first because we had spent so much time analyzing, perhaps overanalyzing the piece, we felt certain Morell's photograph had some sort of message for its viewers.
His tweet taught us a most valuable lesson to always remember during art inquiry. My frainger Cathleen Nardi explored this topic in her latest post. During art inquiry, the viewer brings his/her past experiences, personality, and knowledge which influences his/her perception and is just as important and relevant as the artist's intentions for creating the piece. So Morell was not making any sort of social political statement at all, but nevertheless, as viewers, his art and art in general, invites viewers to take the time to think and discuss what they see because when we take the time to see art, it enriches our life in ways that are not always plainly understood.