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Barbara Lindsey

Shirky: A Group Is Its Own Worst Enemy - 1 views

  • April 24, 2003
  • I want to talk about a pattern I've seen over and over again in social software that supports large and long-lived groups.
  • definition of social software
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  • It's software that supports group interaction
  • how radical that pattern is. The Internet supports lots of communications patterns, principally point-to-point and two-way, one-to-many outbound, and many-to-many two-way.
  • Prior to the Internet, the last technology that had any real effect on the way people sat down and talked together was the table.
  • We've had social software for 40 years at most, dated from the Plato BBS system, and we've only had 10 years or so of widespread availability, so we're just finding out what works. We're still learning how to make these kinds of things.
  • If it's a cluster of half a dozen LiveJournal users, on the other hand, talking about their lives with one another, that's social. So, again, weblogs are not necessarily social, although they can support social patterns.
  • So email doesn't necessarily support social patterns, group patterns, although it can. Ditto a weblog. If I'm Glenn Reynolds, and I'm publishing something with Comments Off and reaching a million users a month, that's really broadcast.
  • So there's this very complicated moment of a group coming together, where enough individuals, for whatever reason, sort of agree that something worthwhile is happening, and the decision they make at that moment is: This is good and must be protected. And at that moment, even if it's subconscious, you start getting group effects. And the effects that we've seen come up over and over and over again in online communities.
  • You are at a party, and you get bored. You say "This isn't doing it for me anymore. I'd rather be someplace else.
  • The party fails to meet some threshold of interest. And then a really remarkable thing happens: You don't leave.
  • That kind of social stickiness is what Bion is talking about.
  • Twenty minutes later, one person stands up and gets their coat, and what happens? Suddenly everyone is getting their coats on, all at the same time. Which means that everyone had decided that the party was not for them, and no one had done anything about it, until finally this triggering event let the air out of the group, and everyone kind of felt okay about leaving.
  • This effect is so steady it's sometimes called the paradox of groups.
  • what's less obvious is that there are no members without a group.
  • there are some very specific patterns that they're entering into to defeat the ostensible purpose of the group meeting together. And he detailed three patterns.
  • The first is sex talk,
  • second basic pattern
  • The identification and vilification of external enemies.
  • So even if someone isn't really your enemy, identifying them as an enemy can cause a pleasant sense of group cohesion. And groups often gravitate towards members who are the most paranoid and make them leaders, because those are the people who are best at identifying external enemies.
  • third pattern Bion identified: Religious veneration
  • The religious pattern is, essentially, we have nominated something that's beyond critique.
  • So these are human patterns that have shown up on the Internet, not because of the software, but because it's being used by humans. Bion has identified this possibility of groups sandbagging their sophisticated goals with these basic urges. And what he finally came to, in analyzing this tension, is that group structure is necessary. Robert's Rules of Order are necessary. Constitutions are necessary. Norms, rituals, laws, the whole list of ways that we say, out of the universe of possible behaviors, we're going to draw a relatively small circle around the acceptable ones.
  • He said the group structure is necessary to defend the group from itself. Group structure exists to keep a group on target, on track, on message, on charter, whatever. To keep a group focused on its own sophisticated goals and to keep a group from sliding into these basic patterns. Group structure defends the group from the action of its own members.
  • technical and social issues are deeply intertwined. There's no way to completely separate them.
  • Some of the users wanted the system to continue to exist and to provide a forum for discussion. And other of the users, the high school boys, either didn't care or were actively inimical. And the system provided no way for the former group to defend itself from the latter.
  • What matters is, a group designed this and then was unable, in the context they'd set up, partly a technical and partly a social context, to save it from this attack from within. And attack from within is what matters.
  • This pattern has happened over and over and over again. Someone built the system, they assumed certain user behaviors. The users came on and exhibited different behaviors. And the people running the system discovered to their horror that the technological and social issues could not in fact be decoupled.
  • nd the worst crisis is the first crisis, because it's not just "We need to have some rules." It's also "We need to have some rules for making some rules." And this is what we see over and over again in large and long-lived social software systems. Constitutions are a necessary component of large, long-lived, heterogenous groups.
  • As a group commits to its existence as a group, and begins to think that the group is good or important, the chance that they will begin to call for additional structure, in order to defend themselves from themselves, gets very, very high.
  • The downside of going for size and scale above all else is that the dense, interconnected pattern that drives group conversation and collaboration isn't supportable at any large scale. Less is different -- small groups of people can engage in kinds of interaction that large groups can't. And so we blew past that interesting scale of small groups. Larger than a dozen, smaller than a few hundred, where people can actually have these conversational forms that can't be supported when you're talking about tens of thousands or millions of users, at least in a single group.
  • So the first answer to Why Now? is simply "Because it's time." I can't tell you why it took as long for weblogs to happen as it did, except to say it had absolutely nothing to do with technology. We had every bit of technology we needed to do weblogs the day Mosaic launched the first forms-capable browser. Every single piece of it was right there. Instead, we got Geocities. Why did we get Geocities and not weblogs? We didn't know what we were doing.
  • It took a long time to figure out that people talking to one another, instead of simply uploading badly-scanned photos of their cats, would be a useful pattern. We got the weblog pattern in around '96 with Drudge. We got weblog platforms starting in '98. The thing really was taking off in 2000. By last year, everyone realized: Omigod, this thing is going mainstream, and it's going to change everything.
  • Why was there an eight-year gap between a forms-capable browser and the Pepys diaries? I don't know. It just takes a while for people to get used to these ideas. So, first of all, this is a revolution in part because it is a revolution. We've internalized the ideas and people are now working with them. Second, the things that people are now building are web-native.
  • A weblog is web-native. It's the web all the way in. A wiki is a web-native way of hosting collaboration. It's lightweight, it's loosely coupled, it's easy to extend, it's easy to break down. And it's not just the surface, like oh, you can just do things in a form. It assumes http is transport. It assumes markup in the coding. RSS is a web-native way of doing syndication. So we're taking all of these tools and we're extending them in a way that lets us build new things really quickly.
  • Third, in David Weinberger's felicitous phrase, we can now start to have a Small Pieces Loosely Joined pattern.
  • You can say, in the conference call or the chat: "Go over to the wiki and look at this."
  • It's just three little pieces of software laid next to each other and held together with a little bit of social glue. This is an incredibly powerful pattern. It's different from: Let's take the Lotus juggernaut and add a web front-end.
  • And finally, and this is the thing that I think is the real freakout, is ubiquity.
  • In many situations, all people have access to the network. And "all" is a different kind of amount than "most." "All" lets you start taking things for granted.
  • But for some groups of people -- students, people in high-tech offices, knowledge workers -- everyone they work with is online. Everyone they're friends with is online. Everyone in their family is online.
  • And this pattern of ubiquity lets you start taking this for granted.
  • There's a second kind of ubiquity, which is the kind we're enjoying here thanks to Wifi. If you assume whenever a group of people are gathered together, that they can be both face to face and online at the same time, you can start to do different kinds of things. I now don't run a meeting without either having a chat room or a wiki up and running. Three weeks ago I ran a meeting for the Library of Congress. We had a wiki, set up by Socialtext, to capture a large and very dense amount of technical information on long-term digital preservation.
  • The people who organized the meeting had never used a wiki before, and now the Library of Congress is talking as if they always had a wiki for their meetings, and are assuming it's going to be at the next meeting as well -- the wiki went from novel to normal in a couple of days.
  • It really quickly becomes an assumption that a group can do things like "Oh, I took my PowerPoint slides, I showed them, and then I dumped them into the wiki. So now you can get at them." It becomes a sort of shared repository for group memory. This is new. These kinds of ubiquity, both everyone is online, and everyone who's in a room can be online together at the same time, can lead to new patterns.
  • "What is required to make a large, long-lived online group successful?" and I think I can now answer with some confidence: "It depends."
  • The normal experience of social software is failure. If you go into Yahoo groups and you map out the subscriptions, it is, unsurprisingly, a power law. There's a small number of highly populated groups, a moderate number of moderately populated groups, and this long, flat tail of failure. And the failure is inevitably more than 50% of the total mailing lists in any category. So it's not like a cake recipe. There's nothing you can do to make it come out right every time.
  • Of the things you have to accept, the first is that you cannot completely separate technical and social issues.
  • So the group is real. It will exhibit emergent effects. It can't be ignored, and it can't be programmed, which means you have an ongoing issue. And the best pattern, or at least the pattern that's worked the most often, is to put into the hands of the group itself the responsibility for defining what value is, and defending that value, rather than trying to ascribe those things in the software upfront.
  • Members are different than users. A pattern will arise in which there is some group of users that cares more than average about the integrity and success of the group as a whole. And that becomes your core group, Art Kleiner's phrase for "the group within the group that matters most."
  • But in all successful online communities that I've looked at, a core group arises that cares about and gardens effectively. Gardens the environment, to keep it growing, to keep it healthy.
  • The core group has rights that trump individual rights in some situations
  • And absolute citizenship, with the idea that if you can log in, you are a citizen, is a harmful pattern, because it is the tyranny of the majority. So the core group needs ways to defend itself -- both in getting started and because of the effects I talked about earlier -- the core group needs to defend itself so that it can stay on its sophisticated goals and away from its basic instincts.
  • All groups of any integrity have a constitution. The constitution is always partly formal and partly informal. A
  • If you were going to build a piece of social software to support large and long-lived groups, what would you design for? The first thing you would design for is handles the user can invest in.
  • Second, you have to design a way for there to be members in good standing. Have to design some way in which good works get recognized. The minimal way is, posts appear with identity.
  • Three, you need barriers to participation.
  • It has to be hard to do at least some things on the system for some users, or the core group will not have the tools that they need to defend themselves.
  • The user of social software is the group, not the individual.
  • Reputation is not necessarily portable from one situation to another
  • If you want a good reputation system, just let me remember who you are. And if you do me a favor, I'll remember it. And I won't store it in the front of my brain, I'll store it here, in the back. I'll just get a good feeling next time I get email from you; I won't even remember why. And if you do me a disservice and I get email from you, my temples will start to throb, and I won't even remember why. If you give users a way of remembering one another, reputation will happen,
Barbara Lindsey

Digitally Speaking / Social Bookmarking and Annotating - 0 views

  • intellectual philanthropy and collective intelligence
  • While these early interactions are simplistic processes that by themselves aren't enough to drive meaningful change in teaching and learning, they are essential because they provide team members with low risk opportunities to interact with one another around the topics, materials and instructional practices that should form the foundation of classroom learning experiences.
  • A tagging language is nothing more than a set of categories that all members of a group agree to use when bookmarking websites for shared projects.
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  • In Shirky's terms, teams that embrace social bookmarking decrease the "cost" of  group transactions.  No longer do members resist sharing because it's too time consuming or difficult to be valuable. Instead, with a little bit of thought and careful planning, groups can make sharing resources---a key process that all learning teams have to learn to manage---remarkably easy and instant.
  • Imagine the collective power of an army of readers engaged in ongoing conversation about provocative ideas, challenging one another's thought, publicly debating, and polishing personal beliefs.  Imagine the cultural understandings that could develop between readers from opposite sides of the earth sharing thought together.  Imagine the potential for brainstorming global solutions, for holding government agencies accountable, or for gathering feedback from disparate stakeholder groups when reading moves from a "fundamentally private activity" to a "community event."
  • Understanding that there are times when users want their shared reading experiences to be more focused, however, Diigo makes it possible to keep highlights and annotations private or available to members of predetermined and self-selected groups.  For professional learning teams exploring instructional practices or for student research groups exploring content for classroom projects, this provides a measure of targeted exploration between likeminded thinkers.
  • Diigo takes the idea of collective exploration of content one step further by providing groups with the opportunity to create shared discussion forums
  • Many of today's teachers make a critical mistake when introducing digital tools by assuming that armed with a username and a password, students will automatically find meaningful ways to learn together.  The results can be disastrous.  Motivation wanes when groups using new services fail to meet reasonable standards of performance.  "Why did I bother to plug my students in for this project?" teachers wonder.  "They could have done better work with a piece of paper and a pencil!"
  • With shared annotation services like Diigo, powerful learning depends on much more than understanding the technical details behind adding highlights and comments for other members of a group to see.  Instead, powerful learning depends on the quality of the conversation that develops around the content being studied together.  That means teachers must systematically introduce students to a set of collaborative dialogue behaviors that can be easily implemented online.
Barbara Lindsey

Connectivism & Connective Knowledge » Narratives of coherence - 0 views

  • Grand narratives – such as provide us with a large umbrella that we can use to make sense of the world – have been besieged over the last several decades. Grand narratives in the form of newspapers, newscasts, and books are now augmented by blogs and YouTube videos.
  • an attempt to provide or create some type of a narrative – namely, a narrative of coherence.
  • In a traditional course, the educator hacks the trails to complex information landscapes. The educator’s bias influences what is included and excluded.
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  • While it is obvious that information shaping approaches such as we find in newspapers and books are fading in prominence, we still need some type of framework to make sense of it all.
  • We all face information abundance. We all face the reality that we will always be missing some key pieces of information.
  • A common concern voiced by many of the active participants: how do we assimilate/makesense of this information?!? There’s just too much of it.
  • Part of the solution is to rely on one’s learning network to filter out nonsense and to draw attention to key ideas. This is particularly effective when we can “plug in” to a network with high levels of diversity and with people we quickly begin to trust.
  • dealing with the concept of self-construal, and the differences that exist among cultures and individuals who are predominantly independent or interdependent. According to those studies, one of these differences is precisely the sense of belonging that you mention. Interdependent self-construals feel more strongly about it than independent self-construals (you can see a more detailed explanation on this and other differences, along with a short literature review in Walker, Deng & Dieser 2005.)
  • four years ago, I conducted a survey among English and Spanish speaking Wikipedians, and the results regarding their motivation to participate in the Wikipedia project were worthy of note: “For Spanish Wikipedia contributors, the sense of building and being part of a large community pays off for the less-rewarding moments of their life as Wikipedians. This is obvious not only by analyzing the answers submitted by the survey respondents but also by taking a look at the large amount of hits that personal pages have in the Spanish version of Wikipedia. English Wikipedia contributors, on the other side, also acknowledge the joys of being part of a community, but, for the most part, they seem more interested in the administrative aspects of Wikipedia, such as creating rules and guidelines, enforcing them and providing for a smooth work with the administrators.” Other differences based on the type of self-construal are very common on our daily interactions on the network.
  • I find my network actually adds to my growing “to read” pile, I’ve read really good stuff because I have seen one or more of my Twitter contacts mentioning an item. I fear more technology will just highlight even more great material.
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    Grand narratives - such as provide us with a large umbrella that we can use to make sense of the world - have been besieged over the last several decades. Grand narratives in the form of newspapers, newscasts, and books are now augmented by blogs and YouTube videos. As discussed in a previous post, one of our key challenges in this course is to find a way to bring together the numerous ideas and viewpoints in a way that makes sense for participants.
Barbara Lindsey

guessthewordle / FrontPage - 0 views

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    A new wordle every day that students all over the world can guess and then send in their guesses and also create ones to share here on this wiki. By Jen Wagner (jenuinetech)
Celeste Arrieta

The Lesson Plans Page - Language Arts Lesson Plans, Language Arts Ideas, & Language Art... - 0 views

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    Ideas con planes de clases
Barbara Lindsey

2010 Horizon Report » Technologies to Watch - 0 views

  • The near-term horizon assumes the likelihood of entry into the mainstream for institutions within the next twelve months; the mid-term horizon, within two to three years; and the far-term, within four to five years. It should be noted that the Horizon Report is not a predictive tool. It is meant, rather, to highlight emerging technologies with considerable potential for our focus areas of teaching, learning, and creative inquiry.
  • virtually all higher education students carry some form of mobile device, and the cellular network that supports their connectivity continues to grow. An increasing number of faculty and instructional technology staff are experimenting with the possibilities for collaboration and communication offered by mobile computing. Devices from smart phones to netbooks are portable tools for productivity, learning, and communication, offering an increasing range of activities fully supported by applications designed especially for mobiles.
  • Far more than a collection of free online course materials, the open content movement is a response to the rising costs of education, the desire for access to learning in areas where such access is difficult, and an expression of student choice about when and how to learn.
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  • Already in the mainstream of consumer use, electronic books are appearing on campuses with increasing frequency.
  • applications for laptops and smart phones overlay digital information onto the physical world quickly and easily.
  • Devices that are controlled by natural movements of the finger, hand, arm, and body are becoming more common. Game companies in particular are exploring the potential offered by consoles that require no handheld controller, but instead recognize and interpret body motions.
  • Visual data analysis is an emerging field, a blend of statistics, data mining, and visualization, that promises to make it possible for anyone to sift through, display, and understand complex concepts and relationships.
Barbara Lindsey

2010 Horizon Report » Executive Summary - 0 views

  • The annual Horizon Report describes the continuing work of the New Media Consortium’s Horizon Project, a qualitative research project established in 2002 that identifies and describes emerging technologies likely to have a large impact on teaching, learning, or creative inquiry on college and university campuses within the next five years.
  • six emerging technologies or practices are described that are likely to enter mainstream use on campuses within three adoption horizons spread over the next one to five years.
  • In the seven years that the Horizon Project has been underway, more than 400 leaders in the fields of business, industry, technology, and education have contributed to this long-running primary research effort. They have drawn on a comprehensive body of published resources, current research and practice, their own considerable expertise, and the expertise of the NMC and ELI communities to identify technologies and practices that are beginning to appear on campuses or are likely to be adopted in the next few years.
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  • Each topic is introduced with an overview that describes what it is, followed by a discussion of the particular relevance of the topic to education, creativity, or research. Examples of how the technology is being, or could be applied to those activities are given. Finally, each section closes with an annotated list of suggested readings and additional examples that expand on the discussion in the report and a link to the tagged resources collected during the research process
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    The annual Horizon Report describes the continuing work of the New Media Consortium's Horizon Project, a qualitative research project established in 2002 that identifies and describes emerging technologies likely to have a large impact on teaching, learning, or creative inquiry on college and university campuses within the next five years.
Barbara Lindsey

FRONTLINE: digital nation: henry jenkins response to mark bauerlein | PBS - 0 views

  • let me say another word or two about our friend, the student who thinks he can read Romeo and Juliet in 10 minutes. It seems to me that he has a lot in common with educational policy makers who think that the experience of reading the book can be reduced to a small number of items on a standardized test. Both have an instrumental understanding of reading and learning which sees learning as a product and has not respect for the process of really engaging deeply with the literary experience. In many ways, the student's attitude is a byproduct of the current structure of education as much as it is a byproduct of the instant gratification promised by digital culture. As someone who has been involved in the last year with a project which seeks to model ways we can teach Moby-Dick in contemporary schools, I can tell you the resistance we've gotten from some teachers comes at both levels. Yes, some teachers don't think their students have the attention span to deal with a novel of this length and complexity but many more simply say that they don't think they have time to teach a novel of such richness if they are going to stay on track and review all of the content they are supposed to cover under the new national standards. Both push back against a depth of experience and the student may simply trying to act efficiently to give the teachers what they want on the test. As someone who loves literature, both sides of this equation break my heart.
  • what the gamers are doing in the Korean Bong is better described as intense concentration, entering a state of flow, rather than multitasking per se. A growing body of work has stressed the kinds of active problem solving which surrounds the play of certain kinds of games, the collaboration which occurs through certain forms of participatory culture, etc. as other ways of engaging with the online world. To me, there's something reductive about continuing to return to issues of multitasking when depicting Katie Salen's game school for example. Katie's approach is not about turning students lose on the computer; it is about teaching them to look at the world as a complex system and developing skills as designers. In my White Paper for MacArthur, I identify multitasking as a skill -- but I don't mean by this what young people think they are doing when they talk about multitasking. I mean the ability to manage attention -- sometimes concentrating on a single text or problem, sometimes scanning the environment to form a hazier understanding of the bigger picture, much as a driver needs to keep their eyes on the road in front of them but also needs to scan the rear view mirror. I think schools have a role to play in helping young people sharpen their understanding of which mode of engagement is appropriate for different tasks and contexts.
  • The goal shouldn't be to decide if computers are good or bad. Our goal should be to identify what a more constructive relationship to this technology might look like and to insure that those skills and practices get transmitted to a broader segment of the population.
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  • I also think that they should report the diverse range of cultural practices which emerged from the Digital Youth team's large scale ethnography of teen's on-line lives and the kinds of practices which seem to support robust informal learning outside the classroom. Unfortunately, this research ended up on the cutting room floor. Some of it is on the web. None of it is in the program.
Barbara Lindsey

Web 2.0 Storytelling: Emergence of a New Genre (EDUCAUSE Review) | EDUCAUSE - 2 views

  • A story is told by one person or by a creative team to an audience that is usually quiet, even receptive. Or at least that’s what a story used to be, and that’s how a story used to be told. Today, with digital networks and social media, this pattern is changing. Stories now are open-ended, branching, hyperlinked, cross-media, participatory, exploratory, and unpredictable. And they are told in new ways: Web 2.0 storytelling picks up these new types of stories and runs with them, accelerating the pace of creation and participation while revealing new directions for narratives to flow.
    • Barbara Lindsey
       
      Do you agree with this statement?
    • loisramirez
       
      I also agree with the statement. A story in this age can take a life of it's own (or many, depending one the variations created), it allows a constant input by others and consequently the evolution of the text and the author as well.
  • To further define the term, we should begin by explaining what we mean by its first part: Web 2.0. Tim O'Reilly coined Web 2.0 in 2004,1 but the label remains difficult to acceptably define. For our present discussion, we will identify two essential features that are useful in distinguishing Web 2.0 projects and platforms from the rest of the web: microcontent and social media.2
  • creating a website through Web 2.0 tools is a radically different matter compared with the days of HTML hand-coding and of moving files with FTP clients.
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  • out of those manifold ways of writing and showing have emerged new practices for telling stories.
  • Web 2.0 platforms are often structured to be organized around people rather than the traditional computer hierarchies of directory trees.
    • loisramirez
       
      I think this is a very important feature, since the web is not as static anymore and more people friendly, we as users feel more encourage to collaborate and create our own content.
  • Websites designed in the 1990s and later offered few connecting points for individuals, generally speaking, other than perhaps a guestbook or a link to an e-mail address. But Web 2.0 tools are built to combine microcontent from different users with a shared interest:
  • If readers closely examine a Web 2.0 project, they will find that it is often touched by multiple people, whether in the content creation or via associated comments or discussion areas. If they participate actively, by contributing content, we have what many call social media.
  • But Web 2.0's lowered bar to content creation, combined with increased social connectivity, ramps up the ease and number of such conversations, which are able to extend outside the bounds of a single environment.
    • Barbara Lindsey
       
      Does the definition of Web 2.0 given in this article help you to better understand your experiences thus far in this course?
  • Another influential factor of Web 2.0 is findability: the use of comprehensive search tools that help story creators (and readers) quickly locate related micocontent with just a few keywords typed into a search field.
  • Social bookmarking and content tagging
  • the "art of conveying events in words, images, and sounds often by improvisation or embellishment."4 Annette Simmons sees the storyteller’s empathy and sensory detail as crucial to "the unique capability to tap into a complex situation we have all experienced and which we all recognize."5
    • loisramirez
       
      I also agree with this comment, something as simple as a keyword can trigger a memory and bring back information that we have learned.
  • Web 2.0 stories are often broader: they can represent history, fantasy, a presentation, a puzzle, a message, or something that blurs the boundaries of reality and fiction.
  • On one level, web users experienced a great deal of digital narratives created in non-web venues but published in HTML, such as embedded audio clips, streaming video, and animation through the Flash plug-in. On another level, they experienced stories using web pages as hypertext lexia, chunks of content connected by hyperlinks.
  • While HTML narratives continued to be produced, digital storytelling by video also began, drawing on groundbreaking video projects from the 1970s.
  • By the time of the emergence of blogs and YouTube as cultural media outlets, Tim O'Reilly's naming of Web 2.0, and the advent of social media, storytelling with digital tools had been at work for nearly a generation.
  • Starting from our definitions, we should expect Web 2.0 storytelling to consist of Web 2.0 practices.
  • In each of these cases, the relative ease of creating web content enabled social connections around and to story materials.
  • Web 2.0 creators have many options about the paths to set before their users. Web 2.0 storytelling can be fully hypertextual in its multilinearity. At any time, the audience can go out of the bounds of the story to research information (e.g., checking names in Google searches or looking for background information in Wikipedia).
  • User-generated content is a key element of Web 2.0 and can often enter into these stories. A reader can add content into story platforms directly: editing a wiki page, commenting on a post, replying in a Twitter feed, posting a video response in YouTube. Those interactions fold into the experience of the overall story from the perspective of subsequent readers.
  • On a less complex level, consider the 9th Btn Y & L War Diaries blog project, which posts diary entries from a World War I veteran. A June 2008 post (http://yldiaries.blogspot.com/2008_06_01_archive.html) contains a full wartime document, but the set of comments from others (seven, as of this writing) offer foreshadowing, explication of terms, and context.
    • Barbara Lindsey
       
      Consider how these new media create rich dissertation and research opportunities.
  • As with the rest of Web 2.0, it is up to readers and viewers to analyze and interpret such content and usually to do so collaboratively.
  • At times, this distributed art form can range beyond the immediate control of a creator.
  • Creators can stage content from different sites.
  • Other forms leverage the Web 2.0 strategies of aggregating large amounts of microcontent and creatively selecting patterns out of an almost unfathomable volume of information.
  • The Twitter content form (140-character microstories) permits stories to be told in serialized portions spread over time.
    • loisramirez
       
      It is also a great way to practice not only creative writing but due to the 140 character limitation; this is a new challenge for a writer, how to say a lot in a just a few words.
  • It also poses several challenges: to what extent can we fragment (or ‘microchunk,’ in the latest parlance) literature before it becomes incoherent? How many media can literature be forced into—if, indeed, there is any limit?"
  • Facebook application that remixes photos drawn from Flickr (based on tags) with a set of texts that generate a dynamic graphic novel.
  • movie trailer recuts
  • At a different—perhaps meta—level, the boundaries of Web 2.0 stories are not necessarily clear. A story's boundaries are clear when it is self-contained, say in a DVD or XBox360 game. But can we know for sure that all the followers of a story's Twitter feed, for example, are people who are not involved directly in the project? Turning this question around, how do we know that we've taken the right measure of just how far a story goes, when we could be missing one character's blog or a setting description carefully maintained by the author on Wikipedia?
  • The Beast was described by its developer, Sean Stewart: “We would tell a story that was not bound by communication platform: it would come at you over the web, by email, via fax and phone and billboard and TV and newspaper, SMS and skywriting and smoke signals too if we could figure out how.
  • instead of telling a story, we would present the evidence of that story, and let the players tell it to themselves.”15
    • Barbara Lindsey
       
      How might your students who come to your courses with these kinds of experiences impact the way you present your content?
  • In addition, the project served as an illustrative example of the fact that no one can know about all of the possible web tools that are available.
    • Barbara Lindsey
       
      How might we address this conundrum?
  • web video storytelling, primarily through YouTube
  • Web 2.0 storytelling offers two main applications for colleges and universities: as composition platform and as curricular object.
  • Students can use blogs as character studies.
  • The reader is driven to read more, not only within the rest of that post but also across the other sites of the story: the archive of posts so far, the MySpace page, the resources copied and pointed to. Perhaps the reader ranges beyond the site, to the rest of the research world—maybe he or she even composes a response in some Web 2.0 venue.
  • Yet the blog form, which accentuates this narrative, is accessible to anyone with a browser. Examples like Project 1968 offer ready models for aspiring writers to learn from. Even though the purpose of Project 1968 is not immediately tied to a class, it is a fine example for all sorts of curricular instances, from history to political science, creative writing to gender studies, sociology to economics.
  • it’s worth remembering that using Web 2.0 storytelling is partly a matter of scale. Some projects can be Web 2.0 stories, while others integrate Web 2.0 storytelling practices.
  • Lecturers are familiar with telling stories as examples, as a way to get a subject across. They end discussions with a challenging question and create characters to embody parts of content (political actors, scientists, composite types). Imagine applying those habits to a class Twitter feed or Facebook group.
  • For narrative studies, Web 2.0 stories offer an unusual blend of formal features, from the blurry boundaries around each story to questions of chronology.
  • An epistolary novel, trial documents, a lab experiment, or a soldier's diaries—for example, WW1: Experiences of an English Soldier (http://wwar1.blogspot.com/)—come to life in this new format.
  • epigrams are well suited to being republished or published by microblogging tools, which focus the reader’s attention on these compressed phases. An example is the posting of Oscar Wilde’s Phrases and Philosophies for the Use of the Young (1894), on Twitter (http://twitter.com/oscarwilde). Other compressed forms of writing can be microblogged also, such as Félix Fénéon's Novels in Three Lines (1906), also on Twitter (http://twitter.com/novelsin3lines). As Dan Visel observed of the latter project: “Fénéon . . . was secretly a master of miniaturized text. . . . Fénéon's hypercompression lends itself to Twitter. In a book, these pieces don't quite have space to breathe; they're crowded by each other, and it's more difficult for the reader to savor them individually. As Twitter posts, they're perfectly self-contained, as they would have been when they appeared as feuilleton.”21
  • A publicly shared Web 2.0 story, created by students for a class, afterward becomes something that other students can explore. Put another way, this learning tool can produce materials that subsequently will be available as learning objects.
  • We expect to see new forms develop from older ones as this narrative world grows—even e-mail might become a new storytelling tool.22 Moreover, these storytelling strategies could be supplanted completely by some semantic platform currently under development. Large-scale gaming might become a more popular engine for content creation. And mobile devices could make microcontent the preferred way to experience digital stories.
  • perhaps the best approach for educators is simply to give Web 2.0 storytelling a try and see what happens. We invite you to jump down the rabbit hole. Add a photo to Flickr and use that as a writing prompt. Flesh out a character in Twitter. Follow a drama unfolding on YouTube. See how a wiki supports the gradual development of a setting. Then share with all of us what you have learned about this new way of telling, and listening to, stories.
  • The interwoven characters, relationships, settings, and scenes that result are the stuff of stories, regardless of how closely mapped onto reality they might be; this also distinguishes a Web 2.0 story from other blogging forms, such as political or project sites (except as satire or criticism!).
  • in sharp contrast to the singular flow of digital storytelling. In the latter form, authors create linear narratives, bound to the clear, unitary, and unidirectional timeline of the video format and the traditional story arc. Web 2.0 narratives can follow that timeline, and podcasts in particular must do so. But they can also link in multiple directions.
  •  
    By Bryan Alexander and Alan Levine
Barbara Lindsey

The Code of Best Practices in Fair Use for Media Literacy Education -- Publications --... - 0 views

  • PRINCIPLES
  • EMPLOYING COPYRIGHTED MATERIAL IN MEDIA LITERACY LESSONS
  • Common instructional activities include comparison-contrast analysis, deconstruction (close analysis) of the form and content of a message, illustration of key points, and examination of the historical, economic, political, or social contexts in which a particular message was produced and is received.
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  • EMPLOYING COPYRIGHTED MATERIAL IN PREPARING CURRICULUM MATERIALS
  • These materials may include samples of contemporary mass media and popular culture as well as older media texts that provide historical or cultural context.
  • SHARING MEDIA LITERACY CURRICULUM MATERIALS
  • Educators using concepts and techniques of media literacy should be able to share effective examples of teaching about media and meaning with one another, including lessons and resource materials
  • STUDENT USE OF COPYRIGHTED MATERIALS IN THEIR OWN ACADEMIC AND CREATIVE WORK
  • Students include excerpts from copyrighted material in their own creative work for many purposes, including for comment and criticism, for illustration, to stimulate public discussion, or in incidental or accidental ways (for example, when they make a video capturing a scene from everyday life where copyrighted music is playing).
  • Because media literacy education cannot thrive unless learners themselves have the opportunity to learn about how media functions at the most practical level, educators using concepts and techniques of media literacy should be free to enable learners to incorporate, modify, and re-present existing media objects in their own classroom work. Media production can foster and deepen awareness of the constructed nature of all media, one of the key concepts of media literacy. The basis for fair use here is embedded in good pedagogy.
  • DEVELOPING AUDIENCES FOR STUDENT WORK
  • Students who are expected to behave responsibly as media creators and who are encouraged to reach other people outside the classroom with their work learn most deeply.
  • In some cases, widespread distribution of students’ work (via the Internet, for example) is appropriate. If student work that incorporates, modifies, and re-presents existing media content meets the transformativeness standard, it can be distributed to wide audiences under the doctrine of fair use.
  • educators should take the opportunity to model the real-world permissions process, with explicit emphasis not only on how that process works, but also on how it affects media making.
Barbara Lindsey

The Device Versus the Book -- Campus Technology - 0 views

  • reading for learning is not the same activity as reading for pleasure, and so the question must be asked: Do these devices designed for the consumer book market match up against the rigors of academic reading?
  • Each school ran its pilot in courses that used texts without color graphs or complex illustrations, so that the known limitations of the devices’ E Ink grayscale electronic-paper display wouldn’t be a hindrance in the students’ learning.
  • There were qualities of both the Kindle DX and Sony Reader that the students felt showed promise, and that made them enthusiastic for the day when e-readers’ functionality as an academic tool becomes a reality. These features include the easy-to-read E Ink screen; the size, weight, and durability of the devices; and the long battery life. But students encountered limitations in the devices that made them inadequate for reading academic texts.
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  • students need to be able to highlight important passages, make notes in the margins of the text, and quickly skim through passages to refresh and compare information. In all three pilots, the students felt that e-readers were not yet ready to meet these academic needs.
  • the Kindle’s small keyboard makes the annotation process very labor-intensive
  • Because the keyboard is so small, and because there was a significant latency between typing the note and the note appearing on screen, a lot of students found that they were overtyping. Many of the students got fed up with the keyboard, so they would just read on their Kindle and make notes in a separate notebook.” Also, the Kindle allows readers to make annotations only in e-book-format files, meaning that students couldn’t insert notes on any PDF-format files that were on the devices. “I think the first [e-reader] manufacturer that figures out how to make a PDF that you can also annotate is going to snag this market,” Temos predicts.
  • He is hesitant, though, to say that this problem is primarily because of a deficiency in the device, when it could just as easily be that the students need to adapt to using a new technology. “[ASU is] going to look at whether this is something that students get used to in the second semester of the pilot and eventually prefer, or if it remains consistent that they continue to prefer paper,” he says. “I think we don’t know that yet.”
  • Highlighting text with the Kindle was not much easier or more satisfying for Princeton students. Much of the difficulty was due to the inability to highlight in color on the grayscale E Ink screen. “The highlighting on the Kindle isn’t actually highlighting; it just makes an underline,” Temos explains. “The students want something more emphatic than that.” Students also found it awkward to highlight long passages using the trackball. “Highlighting over a page break on the Kindle is a real feat,” Temos laughs. “If you actually extend your highlight from one page to the next you feel a real sense of accomplishment.”
Barbara Lindsey

The Device Versus the Book -- Campus Technology - 0 views

  • reading for learning is not the same activity as reading for pleasure, and so the question must be asked: Do these devices designed for the consumer book market match up against the rigors of academic reading?
Barbara Lindsey

How Social Media is Changing Government Agencies - 0 views

  • Funded by the American Recovery and Reinvestment Act, the U.S. Geological Survey’s Twitter Earthquake Detector (@USGSTed) is a prototype that gathers real-time Twitter updates during seismic activities faster than scientific equipment can be tapped for more precise measurements and alerts. It examines earthquakes at an anecdotal level, and complements scientific analysis, according to the project’s overseer, Paul Earle.
  • At the most basic level, social media is about community building. Government agencies have adopted this mindset to varying degrees as a way to foster trust and dialogue with people. “It is truly a national town hall that has never been attempted during a disaster,” said Commander James Hoeft of the U.S. Navy, who oversees the cleanup effort’s social media team.
Barbara Lindsey

The Case for the Virtual Classroom - 0 views

  • “If you take a class, in our case, you’re very likely to meet 20 students from 20 countries,” Reshef says about University of the People. “We believe, by the way, that being exposed to 20 people from 20 cultures — the way they think, the way they function in the class — is as important, if not more, than the subject area itself.”
  • “We re-teach the same concepts again and again,” he said. “The teacher has no sense of who in his classroom is getting it, not getting it…and when you look at all of the successful innovations, it’s where you let the student assess his knowledge, understand where they are, and proceed at a pace where they’re actually seeing that they know something before they move on.”The Department of Education’s meta-analysis, which focused on older learners, supports this. Online learners who self-monitored understanding — by, for example, deciding when to move on to the next lesson — performed better.
    • Barbara Lindsey
       
      Is this a skill we need to be explicitly teaching?
  • The modest difference in performance between online and physical classroom learners in the meta-analysis, for instance, was larger for those students who learned through a blend of online and physical classroom conditions.
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  • The report warned that the results might not be caused by the medium itself because the students in blended learning conditions often had extra learning time and instructional elements.
  • Right now class time is typically used by a lecture. But if teachers move the lecture online for students to watch on their own time, they can use the class time to work on activities and interact with students.
    • Barbara Lindsey
       
      Bingo!
Barbara Lindsey

ACTFL Submission Guidelines 2011 - 0 views

  • A focus of ACTFL 2011 will be on how language educators can prepare students for living, working, and learning in a global environment.
  • While technology is embedded in all 21st century classroom activities, this strand focuses on specific cutting edge technologies that promote language development and cultural understanding including social networking and global communities.
  • Building the language capacity of the U.S. is an ongoing challenge that requires effective policies, local and national advocacy efforts, and matching U.S. student performance against international benchmarks. Developing effective teachers and effective teacher leaders and mentors is also a critical component of our profession.
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  • Effective instructional practice leads to increased language development and cultural understanding and meets the needs of all students in the language classroom. Integrating technology innovations into instruction is vital to a 21st century learning environment. Various program models and curriculum designs are featured in this category from elementary program dual language, immersion, and FLES, to higher education programs that focus on advanced language proficiency.
  • If you are a presenter as well as the person submitting the proposal, you must still list yourself as a presenter. As the submitter your name will be included as the “session organizer”, but you must also add your name as a presenter. This is very important otherwise your name will not show as being a presenter on the submission and your proposal may not be considered. Be sure that your presenter information is current – email address, affiliation (school/company), address, etc – in the database.
Barbara Lindsey

DuSable Museum hosts social media meeting - chicagotribune.com - 0 views

  • “Facebook and Twitter will never replace voting or marching, but it’s a tool to organize; a way to convince your friends to register to vote or be aware of a cause.”
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