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Barbara Lindsey

Next Gen Learning Challenges - 0 views

nextgenlearning.com/...upcoming-events

educause webinar education highered

shared by Barbara Lindsey on 06 Oct 10 - No Cached
  • This fall, NGLC will host a “Back to Campus” series of webinars targeting the underlying challenges facing higher education today and IT’s role as an enabler of change. Each web seminar is free and open to the public, with virtual seating offered on a first-come, first-served basis.
  • Barbara Lindsey on 06 Oct 10
     
    This fall, NGLC will host a "Back to Campus" series of webinars targeting the underlying challenges facing higher education today and IT's role as an enabler of change. Each web seminar is free and open to the public
Barbara Lindsey

2010 Horizon Report » Critical Challenges - 0 views

wp.nmc.org/...challenges

HorizonReport challenges

shared by Barbara Lindsey on 28 Jan 10 - Cached
  • In a 2007 report, the American Association of Colleges and Universities recommended strongly that emerging technologies be employed by students in order for them to gain experience in “research, experimentation, problem-based learning, and other forms of creative work,” particularly in their chosen fields of study.
  • New scholarly forms of authoring, publishing, and researching continue to emerge but appropriate metrics for evaluating them increasingly and far too often lag behind. Citation-based metrics, to pick one example, are hard to apply to research based in social media. New forms of peer review and approval, such as reader ratings, inclusion in and mention by influential blogs, tagging, incoming links, and retweeting, are arising from the natural actions of the global community of educators, with increasingly relevant and interesting results. These forms of scholarly corroboration are not yet well understood by mainstream faculty and academic decision makers, creating a gap between what is possible and what is acceptable.
  • despite the widespread agreement on its importance, training in digital literacy skills and techniques is rare in teacher education programs. In higher education, formal training is virtually non-existent.
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  • This challenge is exacerbated by the fact that digital literacy is less about tools and more about thinking, and thus skills and standards based on tools and platforms have proven to be somewhat ephemeral.
Barbara Lindsey

2008 Horizon Report » Critical Challenges - 0 views

wp.nmc.org/...critical-challenges

shared by Barbara Lindsey on 09 Sep 08 - Cached
  • This is more than merely an expectation to provide content: this is an opportunity for higher education to reach its constituents wherever they may be.
    • Barbara Lindsey
      Barbara Lindsey on 09 Sep 08
       
      Not to be overlooked is the purpose for using ubiquitous access--is this a utiliarian approach or a self-realization approach?
  • the challenge faced by the educational community is to seize those opportunities and develop effective ways to measure academic progress as it happens.
    • Barbara Lindsey
      Barbara Lindsey on 09 Sep 08
       
      What kind of assessment and for what purpose?
  • We need new and expanded definitions of these literacies that are based on mastering underlying concepts rather than on specialized skill sets, and we need to develop and establish methods for teaching and evaluating these critical literacies at all levels of education.
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  • They are indicative of the changing nature of the way we communicate, access information, and connect with peers and colleagues.
Barbara Lindsey

Bill Ferriter | Teacher Leaders Network - 0 views

www.teacherleaders.org/...140

shared by Barbara Lindsey on 30 Aug 08 - Cached
  • Doesn’t Pink talk about this in A Whole New Mind?  Here’s a quote: “While detailed knowledge of a single area once guaranteed success, today the top rewards go to those who can operate with equal aplomb in starkly different realms. I call these people “boundary crossers.” They develop expertise in multiple spheres, they speak in different languages, and they find joy in the rich variety of human experience. They live multi lives—because that’s more interesting, and nowadays more effective.” (Kindle Location 1692)
    • Barbara Lindsey
      Barbara Lindsey on 30 Aug 08
       
      This is where we should shine!
  • Recently, I've tinkered with a system to assess my students' participation in Voicethread conversations.  Essentially mirroring the reflective aspects of Konrad's blogging handouts, I've decided to ask my students the following four questions while we're working with a new Voicethread: Highlight a comment from our Voicethread conversation that closely matches your own thinking.   Why does this comment resonate---or make sense to---you? Highlight a comment from our Voicethread conversation that you respectfully disagree with.  If you were to engage in a conversation with the commenter, what evidence/argument would you use to persuade them to change their point of view? Highlight a comment from our Voicethread conversation that challenged your thinking in a good way and/or made you rethink one of your original ideas.  What about the new comment was challenging?  What are you going to do now that your original belief was challenged?  Will you change yoru mind?  Will you do more researching/thinking/talking with others?
  • The cool part about assessing Voicethread presentations this way is that each question essenitally forces my students to interact with our conversation in a really meaningful way.  To craft careful answers, they must truly consider the comments of others---an essential skill for promoting collaborative versus competitive dialogue---and compare those comments against their own beliefs and preconceived notions.  That's metacognition at its best! What's even better is that when students know that these questions form the basis of our Voicethread assessment from the beginning of a conversation, participation level rise remarkably.  While students are looking for project reflection comments, they often end up highly motivated to share their thinking with peers. 
Barbara Lindsey

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

www.educause.edu/...163262

storytelling digital web2.0

shared by Barbara Lindsey on 12 Mar 10 - Cached
  • 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
      Barbara Lindsey on 12 Mar 10
       
      Do you agree with this statement?
    • loisramirez
      loisramirez on 17 Oct 11
       
      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.
  • ...44 more annotations...
  • 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
      loisramirez on 17 Oct 11
       
      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
      Barbara Lindsey on 12 Mar 10
       
      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
      loisramirez on 17 Oct 11
       
      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
      Barbara Lindsey on 12 Mar 10
       
      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
      loisramirez on 17 Oct 11
       
      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
      Barbara Lindsey on 12 Mar 10
       
      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
      Barbara Lindsey on 12 Mar 10
       
      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.
  • Barbara Lindsey on 12 Mar 10
     
    By Bryan Alexander and Alan Levine
Barbara Lindsey

Critical Challenges « 2011 Horizon Report - 0 views

wp.nmc.org/...challenges

challenges horizon report 2011

shared by Barbara Lindsey on 05 Sep 11 - No Cached
  • reconciling new forms of scholarly activity with old standards continues to be difficult, creating tension and raising questions as to where faculty energy is best directed.
  • Economic pressures and new models of education are presenting unprecedented competition to traditional models of the university
    • Barbara Lindsey
      Barbara Lindsey on 05 Sep 11
       
      Any concerns about this particular trend?
  • There is a greater need than ever for effective tools and filters for finding, interpreting, organizing, and retrieving the data that is important to us.
Barbara Lindsey

Challenging the Presentation Paradigm (in 6 minutes, 40 seconds): Pecha Kucha - ProfHac... - 0 views

chronicle.com/...22807

pechakucha howto highered profhacker presentationtools

shared by Barbara Lindsey on 27 Sep 10 - Cached
  • Barbara Lindsey on 27 Sep 10
     
    ProfHacker shares how he used Pecha Kucha with his students for their presentations.
Barbara Lindsey

Distance Education's Rate of Growth Doubles at Community College - Wired Campus - The C... - 0 views

chronicle.com/...22540

learning2.0 online learning distance

shared by Barbara Lindsey on 19 Sep 10 - Cached
  • Fred Lokken, associate dean for the Truckee Meadows Community College WebCollege and author of the technology-council report, said he thinks that one reason distance education has grown more quickly at community colleges than it has in general is because community colleges are more enthusiastic about it than universities are.
  • Most respondents cited the economic downturn as the main reason for growth in online enrollment, and other respondents said that the growth was typical or was a result of new enrollment efforts.  Community-college enrollment has increased in general with the downturn, and Mr. Lokken said that online courses are particularly appealing to people who are job hunting.
  • The survey also found that for administrators, the greatest challenge in distance learning was a lack of support staff needed for training and technical assistance. In regard to faculty, the administrators who responded to the survey said, workload issues were the biggest obstacle. For students, the institutions' greatest challenge was preparing them to take classes online.
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  • When distance education first became common about 10 years ago, completion rates for online courses were about 50 percent, but survey findings indicate  that they are now up to 72 percent. For face-to-face learning, completion rates are only a little higher, at 76 percent.
Barbara Lindsey

Next Generation Learning Challenges - 0 views

nextgenlearning.org/...open-core-courseware

oer students success actfl10

shared by Barbara Lindsey on 13 Nov 10 - No Cached
  • What if there was a way to make world-class, interactive learning materials available to those students and faculty in these high-demand, low-success courses, for free? Perhaps more students would succeed in these early “gatekeeper” courses, go on to graduate college, and realize the possibility of achieving the dream of future economic success and security.
Barbara Lindsey

Overview (Powerful Ingredients for Blended Learning) - 0 views

wiki.powerfulingredients.com/...overview

privacy online rights educators fryer

shared by Barbara Lindsey on 28 Feb 10 - Cached
  • Before selecting, creating and using online accounts for this course, students are encouraged to consider the benefits of establishing and maintaining a professional digital footprint.
  • By using an alias or screename unrelated to their actual name, students can maintain public anonymity on the websites and in the web content created to fulfill course requirements.
  • Students are encouraged, but not required, to create a consistent, professional digital footprint through the completion of these course requirements. For more thoughts along these lines, see: Darren Kuropatwa's post, "Google Never Forgets"Jen Wagner's post, "If You Lead….Are You Ready For Them To Follow" Clarence Fisher's post, "Losing Your Footprint Sucks" Wesley Fryer's post, "Google Profiles, Online Reputation Management, and Digital Footprints" Notes from Robyn Treyvaud's presentation, "Our 21st Century Challenge: Developing Responsible, Ethical and Resilient Digital Citizens"Yahoo's Safety website: FAQs about your Digital Reputation The YouTube video, "Digital Footprints – Digital Dossier"
  • Barbara Lindsey on 28 Feb 10
     
    Wesley Fryer's course overview. Includes a terrific section on thoughts about student digital footprints, privacy and information disclosure.
Barbara Lindsey

Connectivism & Connective Knowledge » Narratives of coherence - 0 views

ltc.umanitoba.ca/connectivism

siemens filtering information trust pln

shared by Barbara Lindsey on 20 Feb 10 - Cached
  • 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.
  • Barbara Lindsey on 20 Feb 10
     
    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

2010 Horizon Report » One Year or Less: Open Content - 0 views

wp.nmc.org/...open-content

HorizonReport opencontent

shared by Barbara Lindsey on 28 Jan 10 - Cached
  • The movement toward open content reflects a growing shift in the way academics in many parts of the world are conceptualizing education to a view that is more about the process of learning than the information conveyed in their courses. Information is everywhere; the challenge is to make effective use of it.
  • As customizable educational content is made increasingly available for free over the Internet, students are learning not only the material, but also skills related to finding, evaluating, interpreting, and repurposing the resources they are studying in partnership with their teachers.
  • collective knowledge and the sharing and reuse of learning and scholarly content,
  • ...16 more annotations...
  • the notion of open content is to take advantage of the Internet as a global dissemination platform for collective knowledge and wisdom, and to design learning experiences that maximize the use of it.
  • The role of open content producers has evolved as well, away from the idea of authoritative repositories of content and towards the broader notion of content being both free and ubiquitous.
  • schools like Tufts University (and many others) now consider making their course materials available to the public a social responsibility.
  • Many believe that reward structures that support the sharing of work in progress, ongoing research, highly collaborative projects, and a broad view of what constitutes scholarly publication are key challenges that institutions need to solve.
  • learning to find useful resources within a given discipline, assess the quality of content available, and repurpose them in support of a learning or research objective are in and of themselves valuable skills for any emerging scholar, and many adherents of open content list that aspect among the reasons they support the use of shareable materials.
  • Open content shifts the learning equation in a number of interesting ways; the most important is that its use promotes a set of skills that are critical in maintaining currency in any discipline — the ability to find, evaluate, and put new information to use.
  • Communities of practice and learning communities have formed around open content in a great many disciplines, and provide practitioners and independent learners alike an avenue for continuing education.
  • Art History. Smarthistory, an open educational resource dedicated to the study of art, seeks to replace traditional art history textbooks with an interactive, well-organized website. Search by time period, style, or artist (http://smarthistory.org).
  • American Literature before 1860 http://enh241.wetpaint.com Students in this course, held at Mesa Community College, contribute to the open course material as part of their research. MCC also features a number of lectures on YouTube (see http://www.youtube.com/user/mesacc#p/p).
  • Carnegie Mellon University’s Open Learning Initiative http://oli.web.cmu.edu/openlearning/ The Open Learning Initiative offers instructor-led and self-paced courses; any instructor may teach with the materials, regardless of affiliation. In addition, the courses include student assessment and intelligent tutoring capability.
  • Connexions http://cnx.org Connexions offers small modules of information and encourages users to piece together these chunks to meet their individual needs.
  • eScholarship: University of California http://escholarship.org/about_escholarship.html eScholarship provides peer review and publishing for scholarly articles, books, and papers, using an open content model. The service also includes tools for dissemination and research.
  • MIT OpenCourseWare http://ocw.mit.edu The Massachusetts Institute of Technology publishes lectures and materials from most of its undergraduate and graduate courses online, where they are freely available for self-study.
  • Open.Michigan’s dScribe Project https://open.umich.edu/projects/oer.php The University of Michigan’s Open.Michigan initiative houses several open content projects. One, dScribe, is a student-centered approach to creating open content. Students work with faculty to select and vet resources, easing the staffing and cost burden of content creation while involving the students in developing materials for themselves and their peers.
  • Center for Social Media Publishes New Code of Best Practices in OCW http://criticalcommons.org/blog/content/center-for-social-media-publishes-new-code-of-best-practices-in-ocw (Critical Commons, 25 October 2009.) The advocacy group Critical Commons seeks to promote the use of media in open educational resources. Their Code of Best Practices in Fair Use for OpenCourseWare is a guide for content developers who want to include fair-use material in their offerings.
  • Flat World Knowledge: A Disruptive Business Model http://industry.bnet.com/media/10003790/flat-world-knowledge-a-disruptive-business-model/ (David Weir, BNET, 20 August 2009.) Flat World Knowledge is enjoying rapid growth, from 1,000 students in the spring of 2009 to 40,000 in the fall semester using their materials. The company’s business model pays a higher royalty percentage to textbook authors and charges students a great deal less than traditional publishers.
Barbara Lindsey

UNCF Forum Series: Huston-Tilllotson Part 2 on Vimeo - 0 views

vimeo.com/11258416

video gaming students criticalpedagogy

shared by Barbara Lindsey on 07 May 10 - Cached
  • Barbara Lindsey on 07 May 10
     
    An interesting integration of video gaming to empower students to critically evaluate media representations of their communities and to create their own stories of their lives to challenge/expand on those representations.
Barbara Lindsey

ID and Other Reflections: 21st Century Workplace Challenges - 0 views

idreflections.blogspot.com/...tury-workplace-challenges.html

learning 21stcenturylearning collaboration cop communitiesofpractice

shared by Barbara Lindsey on 29 Dec 10 - No Cached
  • Given this situation, it is clear that some of the following are needed to build a workplace that innovates—in other words—a learning organization:
  • Barbara Lindsey on 29 Dec 10
     
    Thx 2 Thomas Sauer for posting this link. (An absolutely critical means for me to find information about topics I am passionate about and that promote my deepening understanding of issues key to my ongoing professional development is allowing those with similar passions to curate findings for me and to likewise do the same for others.) "My understanding of today's workplace: Predictable, routine tasks are being either automated or outsourced, or soon will be. Knowledge workers are increasingly taking more responsibility for their work as well as personal growth. Hierarchy is being replaced by wirearchy. Managers are being replaced by leaders, coaches, and facilitators, or will be. The kinds of work being done are those that defy being codified into step-lists or guidelines. The problems are complex-often chaotic-and resist solving using best practices or yore. Ambiguity, complexity and chaos are replacing the predictable, known, and simple. The competitive edge is the ability to problem solve quickly and innovatively. The day of individual stars are past; it is time for collaborative team work. Routine expertise, based on set skills and crystallized intelligence, is being superseded by a need for more adaptive expertise and fluid intelligence." 
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