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Barbara Lindsey

Japanese Teenagers Teach Us Something About Being In Two Places At Once : 13.7: Cosmos ... - 0 views

  • First, face-to-face conversation is a dynamic interaction between two people. Talking is a kind of turn-taking, and turn-taking is a rhythm that organizes how and when things unfold. When people talk, they modify their postures and tempos so that they correspond. (There is fascinating research on this sort of "coordination dynamics" by, among others, J.A. Scott Kelso and colleagues.) And moreover, they tend jointly to pay attention to what is going on around them. One upshot of this is that when you are talking with someone, you actually experience that they are listening. Talking, in this sense, is like dancing. You can tell whether someone is dancing with you or whether they have detached and lost interest.
  • It is often very difficult to establish this sort dynamic engagement or coupling to someone over a cell phone. The connection is often just not good enough for that. One has the experience of speaking, but one lacks the corresponding experience of being heard. You literally lack the feedback — the coordinated breathing, the modulations of tones of voice, etc — that signals the other’s focus on you. And so you shout.
  • When a cell-phone connection is excellent, you and your remote partner to start up a dance together. But crucially, you dance to music that only you and your partner hear. That is, you succeed in establishing the kind of dynamic integration and entrainment that is typical of face-to-face conversation. And that has the effect of transporting you right out of your physical environment into one that you share with your conversation partner. And this in turn has the effect of guaranteeing that your tone of voice and volume will be inappropriate for your actual physical conditions
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  • This use of language to signal presence is important. In particular, it sheds light on the transformations that are occurring as new technological practices such as cell phone use and social networking sites, etc, get embedded in our lives.
  • Anthropologists looking at the matter were surprised to discover that the kids rarely send informative or detailed messages. As a general rule, they are not telling each other anything. Rather, they are just letting each other know that they are “there,” that they are online, in reach. Texting for the kids is a way of “pinging” each other. They bounce pings back and forth and so signal their presence for each other.
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    This is especially for Carsten!
Barbara Lindsey

Online version: Open Data, Democracy and Public Sector Reform : Tim's Blog - 0 views

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    Over the weeks since I handed in my MSc Dissertation I've been trying to work out how best to share the final version. Each time I've started to edit it for release I've found more areas where I want to develop the argument further, or where I recognise that points I thought were conclusions are in fact the start of new questions. After trying out a few options, I settled on the fantastic Digress.it platform to put a copy of the report online - giving each paragraph it's own URL and space for comments and trackbacks. Hopefully this can help turn a static dissertation into something more dynamic as a tool for helping take forward thinking about the impacts of open government data. All comments, feedback, reflections and thinking aloud on the document welcome.
Barbara Lindsey

Digital Ethnography » Blog Archive » Getting Started with Web 2.0 - 0 views

  • Web 2.0 refers to new websites that are more dynamic, user-driven, and interlinked (and interlinked in new and interesting ways).
  • An RSS (Really Simple Syndication) feed is a way for news organizations, academic journals, book publishers, and virtually anybody who distributes information to distribute that information without any markup or formatting, so that your own browser or website can format it and make it look nice on your own page. You can add any RSS feed to a website like Netvibes. This allows you to have all of your favorite sites that are frequently updated viewable on one single page.
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    Web 2.0 refers to new websites that are more dynamic, user-driven, and interlinked (and interlinked in new and interesting ways).
Barbara Lindsey

Textbooks, E-books, and Online Learning « The Xplanation - 0 views

  • textbooks, with or without the bundled DVDs, are what Judy Baker, of the Community College Consortium for Open Educational Resources, calls “The Hummer of higher education.” Why should we be content with static, rapidly outdated, heavy print textbooks that can cost community college students as much as their tuition, when professors and students can work together to create dynamic, rich-media learning environments instead using free and open source software tools?
Barbara Lindsey

2008 Horizon Report » One Year or Less: Collaboration Webs - 0 views

  • A wide variety of webware applications exist to manage the creation and workflow of rich media projects
    • Barbara Lindsey
       
      How can this change the way your students learn and collaborate?
  • In contrast to productivity applications, which enable users to perform a specific task or create a particular product, collaborative workspaces are “places” where groups of people gather resources or information related to their personal or professional lives.
  • highly flexible
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  • these spaces conveniently lend themselves to almost seamless integration of content from other online resources, often quite transparently
  • They are easy to create, and they allow people to jointly collaborate on complex projects using low-cost, simple tools.
  • The essential attribute of the technologies in this set is that they make it easy for people to share interests and ideas, work on joint projects, and easily monitor collective progress. All of these are needs common to student work, research, collaborative teaching, writing and authoring, development of grant proposals, and more. Using them, groups can collaborate on projects online, anywhere there is Internet access; interim results of research can be shared among a team, supporting illustrations and tables created, and all changes and iterations tracked, documented, and archived. In class situations, faculty can evaluate student work as it progresses, leaving detailed comments right in the documents if desired in almost real time. Students can work with other students in distant locations, or with faculty as they engage in fieldwork.
  • Support needs are greatly reduced as nothing needs to be installed or upgraded.
  • A virtual collaborative workspace for a course or study group can be assembled quickly using tools, or widgets, that can pull information from a variety of sources
    • Barbara Lindsey
       
      This is the difference between a social network like Ning, and a CMS like HuskyCT
  • The same tools can be used to set up a personal portfolio where a student can display his or her work in any form—photos, blog posts, shared videos, and more can be pulled to the page by widgets that grab the student’s contributions on other sites.
    • Barbara Lindsey
       
      No proprietary, expensive, inflexible software 'solution' like our university's portfolio system...
  • Using similar approaches, online conferences and symposia can offer session archives that persist over time; simply request that participants use a particular tag when they post related content, and the widgets will continue to update the conference page as new content appears.
    • Barbara Lindsey
       
      What can this contribute to your conferences?
  • Instead of the campus LMS, the courses use Facebook as their primary interaction and information tool.
  • A course in Digital Entrepreneurship at Rochester Institute of Technology created a Ning network on the topic, bringing undergrads enrolled in the course into contact with over a hundred graduate students, venture capitalists, faculty, practitioners, and business owners around the world.
  • An educational technology course at George Mason University uses Pageflakes as the hub of a learning community. Content is dynamically assembled from a variety of timely sources, integrating it with student work from Flickr and other sources, all via RSS.
  • The Flat Classroom Project (flatclassroomproject.ning.com) uses a Ning workspace to create a sense of space that is shared by students located in the U.S. and in Qatar.
  • to allow faculty to collaborate on course materials and leverage one another’s work.
Barbara Lindsey

Dr. Mashup; or, Why Educators Should Learn to Stop Worrying and Love the Remix | EDUCAU... - 0 views

  • A classroom portal that presents automatically updated syndicated resources from the campus library, news sources, student events, weblogs, and podcasts and that was built quickly using free tools.
  • Increasingly, it's not just works of art that are appropriated and remixed but the functionalities of online applications as well.
  • mashups involve the reuse, or remixing, of works of art, of content, and/or of data for purposes that usually were not intended or even imagined by the original creators.
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  • hat, exactly, constitutes a valid, original work? What are the implications for how we assess and reward creativity? Can a college or university tap the same sources of innovative talent and energy as Google or Flickr? What are the risks of permitting or opening up to this activity?
    • Barbara Lindsey
       
      Good discussion point
  • Remix is the reworking or adaptation of an existing work. The remix may be subtle, or it may completely redefine how the work comes across. It may add elements from other works, but generally efforts are focused on creating an alternate version of the original. A mashup, on the other hand, involves the combination of two or more works that may be very different from one another. In this article, I will apply these terms both to content remixes and mashups, which originated as a music form but now could describe the mixing of any number of digital media sources, and to data mashups, which combine the data and functionalities of two or more Web applications.
  • Harper's article "The Ecstasy of Influence," the novelist Jonathan Lethem imaginatively reviews the history of appropriation and recasts it as essential to the act of creation.3
  • Lethem's article is a must-read for anyone with an interest in the history of ideas, creativity, and intellectual property. It brilliantly synthesizes multiple disciplines and perspectives into a wonderfully readable and compelling argument. It is also, as the subtitle of his article acknowledges, "a plagiarism." Virtually every passage is a direct lift from another source, as the author explains in his "Key," which gives the source for every line he "stole, warped, and cobbled together." (He also revised "nearly every sentence" at least slightly.) Lethem's ideas noted in the paragraph above were appropriated from Siva Vaidhyanathan, Craig Baldwin, Richard Posner, and George L. Dillon.
  • Reading Walter Benjamin's highly influential 1936 essay "The Work of Art in the Age of Mechanical Reproduction,"4 it's clear that the profound effects of reproductive technology were obvious at that time. As Gould argued in 1964 (influenced by theorists such as Marshall McLuhan5), changes in how art is produced, distributed, and consumed in the electronic age have deep effects on the character of the art itself.
  • Yet the technology developments of the past century have clearly corresponded with a new attitude toward the "aura" associated with a work of invention and with more aggressive attitudes toward appropriation. It's no mere coincidence that the rise of modernist genres using collage techniques and more fragmented structures accompanied the emergence of photography and audio recording.
  • Educational technologists may wonder if "remix" or "content mashup" are just hipper-sounding versions of the learning objects vision that has absorbed so much energy from so many talented people—with mostly disappointing results.
  • The question is, why should a culture of remix take hold when the learning object economy never did?
  • when most learning object repositories were floundering, resource-sharing services such as del.icio.us and Flickr were enjoying phenomenal growth, with their user communities eagerly contributing heaps of useful metadata via simple folksonomy-oriented tagging systems.
  • the standards/practices relationship implicit in the learning objects model has been reversed. With only the noblest of intentions, proponents of learning objects (and I was one of them) went at the problem of promoting reuse by establishing an arduous and complex set of interoperability standards and then working to persuade others to adopt those standards. Educators were asked to take on complex and ill-defined tasks in exchange for an uncertain payoff. Not surprisingly, almost all of them passed.
  • Discoverable Resources
  • Educators might justifiably argue that their materials are more authoritative, reliable, and instructionally sound than those found on the wider Web, but those materials are effectively rendered invisible and inaccessible if they are locked inside course management systems.
  • It's a dirty but open secret that many courses in private environments use copyrighted third-party materials in a way that pushes the limits of fair use—third-party IP is a big reason why many courses cannot easily be made open.
  • The potential payoff for using open and discoverable resources, open and transparent licensing, and open and remixable formats is huge: more reuse means that more dynamic content is being produced more economically, even if the reuse happens only within an organization. And when remixing happens in a social context on the open web, people learn from each other's process.
  • Part of making a resource reusable involves making the right choices for file formats.
  • To facilitate the remixing of materials, educators may want to consider making the source files that were used to create a piece of multimedia available along with the finished result.
  • In addition to choosing the right file format and perhaps offering the original sources, another issue to consider when publishing content online is the critical question: "Is there an RSS feed available?" If so, conversion tools such as Feed2JS (http://www.feed2JS.org) allow for the republication of RSS-ified content in any HTML Web environment, including a course management system, simply by copying and pasting a few lines of JavaScript code. When an original source syndicated with RSS is updated, that update is automatically rendered anywhere it has been republished.
  • Jack Schofield
  • Guardian Unlimited
  • "An API provides an interface and a set of rules that make it much easier to extract data from a website. It's a bit like a record company releasing the vocals, guitars and drums as separate tracks, so you would not have to use digital processing to extract the parts you wanted."1
  • What's new about mashed-up application development? In a sense, the factors that have promoted this approach are the same ones that have changed so much else about Web culture in recent years. Essential hardware and software has gotten more powerful and for the most part cheaper, while access to high-speed connectivity and the enhanced quality of online applications like Google Docs have improved to the point that Tim O'Reilly and others can talk of "the emergent Internet operating system."15 The growth of user-centered technologies such as blogs have fostered a DIY ("do it yourself") culture that increasingly sees online interaction as something that can be personalized and adapted on the individual level. As described earlier, light syndication and service models such as RSS have made it easier and faster than ever to create simple integrations of diverse media types. David Berlind, executive editor of ZDNet, explains: "With mashups, fewer technical skills are needed to become a developer than ever. Not only that, the simplest ones can be done in 10 or 15 minutes. Before, you had to be a pretty decent code jockey with languages like C++ or Visual Basic to turn your creativity into innovation. With mashups, much the same way blogging systems put Web publishing into the hands of millions of ordinary non-technical people, the barrier to developing applications and turning creativity into innovation is so low that there's a vacuum into which an entire new class of developers will be sucked."16
  • The ability to "clone" other users' mashups is especially exciting: a newcomer does not need to spend time learning how to structure the data flows but can simply copy an existing framework that looks useful and then make minor modifications to customize the result.19
    • Barbara Lindsey
       
      This is the idea behind the MIT repository--remixing content to suit local needs.
  • As with content remixing, open access to materials is not just a matter of some charitable impulse to share knowledge with the world; it is a core requirement for participating in some of the most exciting and innovative activity on the Web.
  • "My Maps" functionality
  • For those still wondering what the value proposition is for offering an open API, Google's development process offers a compelling example of the potential rewards.
    • Barbara Lindsey
       
      Wikinomics
  • Elsewhere, it is difficult to point to significant activity suggesting that the mashup ethos is taking hold in academia the way it is on the wider Web.
  • Yet for the most part, the notion of the data mashup and the required openness is not even a consideration in discussions of technology strategy in higher educational institutions. "Data integration" across campus systems is something that is handled by highly skilled professionals at highly skilled prices.
  • Revealing how a more adventurous and inclusive online development strategy might look on campus, Raymond Yee recently posted a comprehensive proposal for his university (UC Berkeley), in which he outlined a "technology platform" not unlike the one employed by Amazon.com (http://aws.amazon.com/)—resources and access that would be invaluable for the institution's programmers as well as for outside interests to build complementary services.
  • All too often, college and university administrators react to this type of innovation with suspicion and outright hostility rather than cooperation.
  • those of us in higher education who observe the successful practices in the wider Web world have an obligation to consider and discuss how we might apply these lessons in our own contexts. We might ask if the content we presently lock down could be made public with a license specifying reasonable terms for reuse. When choosing a content management system, we might consider how well it supports RSS syndication. In an excellent article in the March/April 2007 issue of EDUCAUSE Review, Joanne Berg, Lori Berquam, and Kathy Christoph listed a number of campus activities that could benefit from engaging social networking technologies.26
  • What might happen if we allow our campus innovators to integrate their practices in these areas in the same way that social networking application developers are already integrating theirs? What is the mission-critical data we cannot expose, and what can we expose with minimal risk? And if the notion of making data public seems too radical a step, can APIs be exposed to selected audiences, such as on-campus developers or consortia partners?
Barbara Lindsey

Lead article: How did a couple of veteran classroom teachers end up in a space like thi... - 0 views

  • With social networking and media-sharing practices rapidly assuming a central role in our professional and personal lives, teachers have a responsibility to bring these practices into the classroom.
    • Barbara Lindsey
       
      Why responsibility? Even if it doesn't serve a pedagogical purpose? Advance the learning that is supposed to take place?
  • technology uber-fans gush over their embrace of every new gadget, technology and practice, affixing computer-driven activities onto factory-model teaching practices as shiny appendages, resulting in a ‘technology façade’
    • Barbara Lindsey
       
      Well, I would have a problem making a direct connection between über-fans and factory-model teaching proponents. I would like to think the über-fans lean more towards constructivist practices.
  • This does not mean that traditional literacies of critical reading, thinking and communication must make way for emerging literacies of collaboration, online communication and multimedia navigation. It does mean that we have to transform our teaching to accommodate them all effectively.
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  • a tension between their passions and interests and the Academy’s curricular obligations. When woven into the fabric of the classroom, blogs allow the participants to articulate their feelings as a way of addressing these tensions. As well, blogs provide a space where the participants’ interests and passions can bubble forth for the enrichment of the group.
  • By blogging effectively within classroom settings, we can mentor learner forays into public spaces.
  • We wish to emphasise the importance of distinguishing between using blogs as holders of factory-model teaching practices, and taking advantage of their connectivity and transparency to deepen and liberate learning from the confines of stagnant, teacher-centric models. Ignoring the transformative capabilities of connectivity, some teachers using blogs merely reproduce offline practices online. Limiting classroom blogging to one-way transactions of information and directives from teacher to learners may add convenience and efficiency to the classroom, but does nothing for learning itself. Nor does assigning and directing wooden, forced, framed discussions online, which result in little more than mind-numbing ‘busy work’. We belittle and infantalise our students, further rewarding docility and disengagement if we over-direct posts by giving minute instructions as to their content, number and direction.
  • classroom blogging,
  • focusing on emerging pedagogy rather than tools
  • We will examine hyperlinked slow-blogging as reflective learning; multimedia, interactive blogging as action-based learning; and connected, transparent blogging as social learning.
  • Reflection-through-writing is a powerful aid to information retention, which is poor unless the lesson is repeated in a variety of contexts
  • The learner, in the act of writing down what s/he has learned, solidifies understanding and reveals areas of confusion.
  • Traditionally this kind of reflective narrative, found in journals and portfolios, has helped learners gain skill at meta-discourse and take responsibility for learning in liberal arts contexts. Teachers follow progress and detect comprehension gaps while coming to know learners’ styles, contexts and preferences. Learner-teacher interactions through reflective writing can deepen important bonds, an important indicator of effective learning (Raider Roth 2005).
  • different kinds of learning contexts including vocational by inviting learners to contextualise the learning in their own way within personal experience, thereby making the learning their own (
    • Barbara Lindsey
       
      An aspect of constructivist teaching and learning.
  • But if limited to the kinds of practices achieved offline, while efficient and convenient, and affording keyboarding practice, this use ignores new literacies of connectivity, collaboration, communication and multimedia expression. It also leaves out learners for whom written reflection is not always optimal or possible.
  • Although a blog organises itself, ordinarily and on first view, in reverse chronological order, the latest post being most prominent, tagging and hyperlinking allow for more associative, lateral ways of organising and connecting thoughts. Even the novice learner can transcend the limits of time and linearity in linking nascent ideas, discoveries and meta-discourse on the learning, replacing ‘…the essentially linear, fixed methods that had produced the triumphs of capitalism and industrialism with what are essentially poetic machines that capture and create the anarchic brilliance of human imagination’
  • Learners can link to practices other than written as they struggle to articulate and thus retain and apply what they have learned. For example, some learners will naturally link to audio rather than to text files of their reflections; others will link to images they have taken that are reflective of the learning process and outcomes.
  • thereby extending the reflective practice into synthesis and analysis and invention
  • If we know we are being read, that our explorations have value out in the world, we tend to take more care with our expression and our thinking as communiqués to the Other as well as to the self.
  • From learner posts, the teacher can point to models and questions, to moments of creative and critical success. Learning deepens, writing strengthens: these successes in turn pull the writer back to the blog again and again, to reflect and to improve thinking and expression skills.
  • That these messages to the self (and by extension, to the class and the world) are archived by date and category (or tag) allows them to take their place in an ongoing narrative of the learning.
  • Linking out connects us to more than ourselves. So, in this time of crumbling communities and the cult of the individual, our learners can, through active hyperlinking within a reflective learning practice, become more self-aware rather than more self-absorbed.
  • In selecting media, learners gain critical awareness of the grammar of image and sound as well as language. They learn to evaluate the impact of visual media on their discipline, on their society and on their lives as they develop skill at understanding structure, the arc of an argument, the use of transitions.
    • Barbara Lindsey
       
      But don't learners need structured guidance in order to be able to do this successfully?
  • Hendrik and Ornberg have asserted, that ‘…audio is more effective than text for creating a sense of co-presence’
    • Barbara Lindsey
       
      Reactions to this statement?
  • Students learn the discipline by doing the discipline
  • Evie’s work on the web, and in turn catapulted one of our learners into the role of activist and advocate for a cause about which she cared deeply.
  • By the end of the semester, Evie was not only a committed and involved activist for women’s rights, but a published photographer.
  • And so, the apprentice became the master, the student became the teacher, and Sean’s blog is fulfilling by becoming a valued resource for a teacher in Argentina and for her students as well.
  • Her blogging world and her real world became forever ‘intertwingled’ when she started leaving comments on the blogs of some of the graffiti artists she was following, and they, in turn, left comments on her blog. What followed was a flurry of comments, Instant Messaging (IM) conversations, Skype (r) chats and blogposts each taking Claire ever closer to the very people she has studied and admired and analysed…from afar. After the class ended (and after Claire graduated) Claire’s interest in graffiti continued.
  • But just as in the case of Sean, Claire went from being the observer to participant and now to a creator of graffiti, thanks in part to the connections made via social software tools.
  • it is not difficult to see how a tool such as a blog can keep learners immersed in course content in a way that traditional, teacher and textbook-centric teaching simply cannot.
  • A third, and perhaps most significant, role for classroom blogs to play, then, is in social learning, in the forming of close bonds within the learning community itself and with the outside world. Blogs afford learners a strong sense of belonging to a dynamic learning collaborative, following the apprenticeship model of learning, in which everyone is expert and apprentice to one another
  • The job of the teacher using social software is to create an understanding in and amongst the participants that they need to work together as a social entity, as a collaborative group, that is linked to and communicating among themselves as well as with the world.
  • Student bloggers learn by collaborating with one another through online group projects and through discussions, both formal and informal, that spring up on a central course blog, what we call the ‘Motherblog’, and by linking to one another within their own blogs, and creating feedback loops through the commenting function. Students also learn from one another through the blog archives, which grow year by year. Although we still teach in a departmentalised, semesterised system, the archiving subverts the notion of isolated learning segments by carrying the blog’s accumulated wisdom from group to group, informing the new learners’ experiences by adding context, models and inspiration
  • And unlike a discussion board that might be hosted on a course management tool such as Blackboard, these multimedia posts and comments are archived, hyperlinked and are open and available to all and not just the class.
    • Barbara Lindsey
       
      Critical difference.
  • Learners and teachers bring into the community discussion their own expertise, prior learning, cultural perspectives. They can converse here about what interests them about what they are studying. This kind of informal discussion weaves the threads of collective intelligence, and it helps learners to think beyond the strict confines of the syllabus, seeing connections to themselves and the world.
  • The class uses Flickr to collect and share images to be used in image-only essays and reflections, and in multimedia texts.
    • Barbara Lindsey
       
      How interesting.
  • As Garrison and Anderson (2003) point out, ‘…a community of learners is an essential, core element of an educational experience when higher-order learning is the desired outcome’ (2003:22)
    • Barbara Lindsey
       
      A good rationale for collaborative engagement.
  • Using blogs as a complement to the face-to-face classroom environment not only provides more time on task for the learners, but if left open to world (as opposed to behind a firewall or a password or contained within the shell of a Learning Management System) these tools allow the real world - those crucial informal learning networks - into our classrooms…and the remarkable connections that happen as a result.
  • We can invite the outside world into the course intentionally, by asking experts in our field to participate in time-limited blog-based discussions with our learners. In these ‘blogging invitationals’ our learners can interact with professionals, joining the conversation of the real-world discipline in a meaningful way.
  • Other powerful connections with the world outside the classroom can occur through inter-classroom or inter-school blogging exchanges, or in service-learning initiatives, in which university learners, for example, mentor younger learners via connected blogging and feedback through comments, classroom to classroom, as writing buddies.
Barbara Lindsey

Planning for Neomillennial Learning Styles: Implications for Investments in Technology ... - 0 views

  • Research indicates that each of these media, when designed for education, fosters particular types of interactions that enable—and undercut—various learning styles.
    • Barbara Lindsey
       
      How much do we know about our students' learning styles? How do we know this?
  • Over the next decade, three complementary interfaces will shape how people learn
  • The familiar "world to the desktop." Provides access to distant experts and archives and enables collaborations, mentoring relationships, and virtual communities of practice. This interface is evolving through initiatives such as Internet2. "Alice in Wonderland" multiuser virtual environments (MUVEs). Participants' avatars (self-created digital characters) interact with computer-based agents and digital artifacts in virtual contexts. The initial stages of studies on shared virtual environments are characterized by advances in Internet games and work in virtual reality. Ubiquitous computing. Mobile wireless devices infuse virtual resources as we move through the real world. The early stages of "augmented reality" interfaces are characterized by research on the role of "smart objects" and "intelligent contexts" in learning and doing.
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  • This immersion in virtual environments and augmented realities shapes participants' learning styles beyond what using sophisticated computers and telecommunications has fostered thus far, with multiple implications for higher education.
  • Beyond actional and symbolic immersion, advances in interface technology are now creating virtual environments and augmented realities that induce a psychological sense of sensory and physical immersion.
  • The research on virtual reality Salzman and I conducted on frames of reference found that the exocentric and the egocentric FORs have different strengths for learning. Our studies established that learning ideally involves a "bicentric" perspective alternating between egocentric and exocentric FORs.
    • Barbara Lindsey
       
      Could we make the argument that this is one of the main goals of language programs?
  • But what is so special about the egocentric perspectives and situated learning now enabled by emerging media? After all, each of us lives with an egocentric perspective in the real world and has many opportunities for situated learning without using technology. One attribute that makes mediated immersion different and powerful is the ability to access information resources and psychosocial community distributed across distance and time, broadening and deepening experience. A second important attribute is the ability to create interactions and activities in mediated experience not possible in the real world, such as teleporting within a virtual environment, enabling a distant person to see a real-time image of your local environment, or interacting with a (simulated) chemical spill in a busy public setting. Both of these attributes are actualized in the Alice-in-Wonderland interface.
  • Notion of place is layered/blended/multiple; mobility and nomadicity prevalent among dispersed, fragmented, fluctuating habitats (for example, coffeehouses near campus)
  • Guided social constructivism and situated learning as major forms of pedagogy
  • he defining quality of a learning community is that there is a culture of learning, in which everyone is involved in a collective effort of understanding. There are four characteristics that such a culture must have: (1) diversity of expertise among its members, who are valued for their contributions and given support to develop, (2) a shared objective of continually advancing the collective knowledge and skills, (3) an emphasis on learning how to learn, and (4) mechanisms for sharing what is learned. If a learning community is presented with a problem, then the learning community can bring its collective knowledge to bear on the problem. It is not necessary that each member assimilate everything that the community knows, but each should know who within the community has relevant expertise to address any problem. This is a radical departure from the traditional view of schooling, with its emphasis on individual knowledge and performance, and the expectation that students will acquire the same body of knowledge at the same time.26
  • Peer-developed and peer-rated forms of assessment complement faculty grading, which is often based on individual accomplishment in a team performance context  Assessments provide formative feedback on instructional effectiveness
  • Multipurpose habitats—creating layered/blended/personalizable places rather than specialized locations (such as computer labs)
  • o the extent that some of these ideas about neomillennial learning styles are accurate, campuses that make strategic investments in physical plant, technical infrastructure, and professional development along the dimensions suggested will gain a considerable competitive advantage in both recruiting top students and teaching them effectively.
  • Net Generation learning styles stem primarily from the world-to-the-desktop interface; however, the growing prevalence of interfaces to virtual environments and augmented realities is beginning to foster so-called neomillennial learning styles in users of all ages.
    • Barbara Lindsey
       
      What is the timeline?
  • Immersion is the subjective impression that one is participating in a comprehensive, realistic experience.
  • Inducing a participant's symbolic immersion involves triggering powerful semantic associations via the content of an experience.
    • Barbara Lindsey
       
      Felice's Utopian City
  • The capability of computer interfaces to foster psychological immersion enables technology-intensive educational experiences that draw on a powerful pedagogy: situated learning.
  • The major schools of thought cited are behaviorist theories of learning (presentational instruction), cognitivist theories of learning (tutoring and guided learning by doing), and situated theories of learning (mentoring and apprenticeships in communities of practice).
    • Barbara Lindsey
       
      What kinds of learning environments do you prefer and what kinds do you create for your students?
  • Situated learning requires authentic contexts, activities, and assessment coupled with guidance from expert modeling, mentoring, and "legitimate peripheral participation."8 As an example of legitimate peripheral participation, graduate students work within the laboratories of expert researchers, who model the practice of scholarship. These students interact with experts in research as well as with other members of the research team who understand the complex processes of scholarship to varying degrees. While in these laboratories, students gradually move from novice researchers to more advanced roles, with the skills and expectations for them evolving.
  • Potentially quite powerful, situated learning is much less used for instruction than behaviorist or cognitivist approaches. This is largely because creating tacit, relatively unstructured learning in complex real-world settings is difficult.
    • Barbara Lindsey
       
      Not too far in the future!
  • However, virtual environments and ubiquitous computing can draw on the power of situated learning by creating immersive, extended experiences with problems and contexts similar to the real world.9 In particular, MUVEs and real-world settings augmented with virtual information provide the capability to create problem-solving communities in which participants can gain knowledge and skills through interacting with other participants who have varied levels of skills, enabling legitimate peripheral participation driven by intrinsic sociocultural forces.
  • Situated learning is important in part because of the crucial issue of transfer. Transfer is defined as the application of knowledge learned in one situation to another situation and is demonstrated if instruction on a learning task leads to improved performance on a transfer task, typically a skilled performance in a real-world setting
    • Barbara Lindsey
       
      One of the most difficult skills to master.
  • Moreover, the evolution of an individual's or group's identity is an important type of learning for which simulated experiences situated in virtual environments or augmented realities are well suited. Reflecting on and refining an individual identity is often a significant issue for higher education students of all ages, and learning to evolve group and organizational identity is a crucial skill in enabling innovation and in adapting to shifting contexts.
  • Immersion is important in this process of identity exploration because virtual identity is unfettered by physical attributes such as gender, race, and disabilities.
    • Barbara Lindsey
       
      Don't agree with this. We come to any environment with our own baggage and we do not interact in a neutral social context.
  • Thanks to out-of-game trading of in-game items, Norrath, the virtual setting of the MMOG EverQuest, is the seventy-seventh largest economy in the real world, with a GNP per capita between that of Russia and Bulgaria. One platinum piece, the unit of currency in Norrath, trades on real world exchange markets higher than both the Yen and the Lira (Castronova, 2001).14
  • Multiple teams of students can access the MUVE simultaneously, each individual manipulating an avatar which is "sent back in time" to this virtual environment. Students must collaborate to share the data each team collects. Beyond textual conversation, students can project to each other "snapshots" of their current individual point of view (when someone has discovered an item of general interest) and also can "teleport" to join anyone on their team for joint investigation. Each time a team reenters the world, several months of time have passed in River City, so learners can track the dynamic evolution of local problems.
  • In our research on this educational MUVE based on situated learning, we are studying usability, student motivation, student learning, and classroom implementation issues. The results thus far are promising: All learners are highly motivated, including students typically unengaged in classroom settings. All students build fluency in distributed modes of communication and expression and value using multiple media because each empowers different types of communication, activities, experiences, and expressions. Even typically low-performing students can master complex inquiry skills and sophisticated content. Shifts in the pedagogy within the MUVE alter the pattern of student performance.
    • Barbara Lindsey
       
      Would like to see research on this.
  • Research shows that many participants value this functionality and choose to access the Web page after leaving the museum.
    • Barbara Lindsey
       
      More could be done with this.
  • Participants in these distributed simulations use location-aware handheld computers (with GPS technology), allowing users to physically move throughout a real-world location while collecting place-dependent simulated field data, interviewing virtual characters, and collaboratively investigating simulated scenarios.
    • Barbara Lindsey
       
      Much better
  • Initial research on Environmental Detectives and other AR-based educational simulations demonstrates that this type of immersive, situated learning can effectively engage students in critical thinking about authentic scenarios.
  • Students were most effective in learning and problem-solving when they collectively sought, sieved, and synthesized experiences rather than individually locating and absorbing information from some single best source.
    • Barbara Lindsey
       
      How does this 'fit' learning goals and teaching styles in our program?
  • Rheingold's forecasts draw on lifestyles seen at present among young people who are high-end users of new media
  • Rather than having core identities defined through a primarily local set of roles and relationships, people would express varied aspects of their multifaceted identities through alternate extended experiences in distributed virtual environments and augmented realities.
    • Barbara Lindsey
       
      How is this different from current experiences for individuals working within/across different social groups and boundaries?
  • one-third of U.S. households now have broadband access to the Internet. In the past three years, 14 million U.S. families have linked their computers with wireless home networks. Some 55 percent of Americans now carry cell phones
  • Mitchell's forecasts25 are similar to Rheingold's in many respects. He too envisions largely tribal lifestyles distributed across dispersed, fragmented, fluctuating habitats: electronic nomads wandering among virtual campfires. People's senses and physical agency are extended outward and into the intangible, at considerable cost to individual privacy. Individual identity is continuously reformed via an ever-shifting series of networking with others and with tools. People express themselves through nonlinear, associational webs of representations rather than linear "stories" and co-design services rather than selecting a precustomized variant from a menu of possibilities.
  • More and more, though, people of all ages will have lifestyles involving frequent immersion in both virtual and augmented reality. How might distributed, immersive media be designed specifically for education, and what neomillennial learning styles might they induce?
  • Mediated immersion creates distributed learning communities, which have different strengths and limits than location-bound learning communities confined to classroom settings and centered on the teacher and archival materials.27
  • Neomillenial Versus Millennial Learning Styles
  • Emphasis is placed on implications for strategic investments in physical plant, technology infrastructure, and professional development.
  • such as textbooks linked to course ratings by students)
  • Mirroring": Immersive virtual environments provide replicas of distant physical settings
  • Middleware, interoperability, open content, and open source
  • Finding information Sequential assimilation of linear information stream
  • Student products generally tests or papers Grading centers on individual performance
  • These ideas are admittedly speculative rather than based on detailed evidence and are presented to stimulate reaction and dialogue about these trends.
  • f we accept much of the analysis above
    • Barbara Lindsey
       
      But have they made the case for its educational value?
  • students of all ages with increasingly neomillennial learning styles will be drawn to colleges and universities that have these capabilities. Four implications for investments in professional development also are apparent. Faculty will increasingly need capabilities in:
  • Some of these shifts are controversial for many faculty; all involve "unlearning" almost unconscious beliefs, assumptions, and values about the nature of teaching, learning, and the academy. Professional development that requires unlearning necessitates high levels of emotional/social support in addition to mastering the intellectual/technical dimensions involved. The ideal form for this type of professional development is distributed learning communities so that the learning process is consistent with the knowledge and culture to be acquired. In other words, faculty must themselves experience mediated immersion and develop neomillennial learning styles to continue teaching effectively as the nature of students alters.
  • Differences among individuals are greater than dissimilarities between groups, so students in any age cohort will present a mixture of neomillennial, millennial, and traditional learning styles
  • The technologies discussed are emerging rather than mature, so their final form and influences on users are not fully understood. A substantial number of faculty and administrators will likely dismiss and resist some of the ideas and recommendations presented here.
Barbara Lindsey

Opportunities for Creating the Future of Learning - 2020 Forecast: Creating the Future ... - 0 views

  • The globalization of open learning systems characterized by cooperative resource creation, evaluation, and sharing will change how educational institutions view their roles and will offer new forms of value in the global learning ecosystem. Education institutions will no longer be exclusive agents of coordination, service provision, quality assurance, performance assessment, or support. In fact, other players might be more equipped to provide these functions in the distributed ecosystem.
  • Authority will be a hotly contested resource, and there will be the potential for conflict and distrust.
  • It remains to be seen whether new learning agents and traditionally certified teachers will cooperate or compete.
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  • communities will become the world’s classrooms. Learning geographies will diversify as some communities become learning deserts barren of learning resources, while others become oases teeming with dynamic learning ecosystems.
  • These new dimensions of learning geographies will require new core skills. Among them will be navigating new visual cartographies, identifying learning resources in previously unexpected places, leveraging networks to take advantage of learning opportunities, and creating flexible educational infrastructures that can make use of dispersed community resources.
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

if:book: this progress - 0 views

  • My hypothesis, if correct, would oblige us to recognize the fact that the primary function of written communication is to facilitate slavery.
  • The use of writing for disinterested purposes, and as a source of intellectual and aesthetic pleasure, is a secondary result, and more often than not it may even be turned into a means of strengthening, justifying or concealing the other. (p. 299)
  • Already our ideas about privacy are radically different than they were a decade ago.
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  • Lévi-Strauss invites us to consider literary freedom (or, more generally, "book culture") as a spandrel in the sense that Stephen Jay Gould employed the term: something that evolves not towards its own end, but because it doesn't impede (and may in fact support) other forces. I think Lévi-Strauss's hypothesis is interesting to consider because it posits our present book culture as an exception, rather than something that naturally happens because of the flow of economic or historical forces.
  • For a piece entitled "This Progress," Sehgal emptied the spiral ramp of the Guggenheim of its art: the visitor ascending the ramp was met by a small child, who asks you to explain what you think progress is. You do this as best you can; there's a back and forth, and this conversation carries on up the spiral. At a certain point, you're met by a high school student, who continues the conversation; then a young adult; and finally an older adult, who walks with you to the top-most point in the Guggenheim. There's a great deal of careful choreography going on, so the conversation breaks and remakes itself across your offerent interlocutors – but what's centrally interesting about the piece is that the visitor is engaged in a sustained conversation with strangers about the idea of progress. There's something deeply strange about this: post-college, we so rarely engage in conversations about abstract ideas. It's equally odd to be engaging with people who aren't your age: the way on talks to a six-year-old is necessarily different from the way one talks to a sixty-year-old. This can be deeply engrossing: on a visit a few Mondays ago, my friend Nik and I went up (with others) and down (together) five times in four hours.
  • Going up the spiral with a friend doesn't work as well as you might expect: the dynamics of a conversation with a stranger are very different from a converstion with a stranger and a friend.
  • One quickly discovers that what happens when one ascends the spiral is different every time, though the structure is constant. Some conversations are interesting; some are less so. Some are over quickly; some carry on so long that you worry that you've fallen out of the piece entirely. While some of the rules can be easily understood
  • some aren't so obvious.
  • One quickly discovers the limitations of language: progress, we think, is the idea that things move forward, but that doesn't explain why something in front of something is naturally better: it's simply a structure of our thought that we construe things in front of us (or above us) as things we aspire to in some way. It's hard not to think in this way when ascending a ramp, though weirdly the ramp as metaphor doesn't seem to arise.
  • k wanted to know, were we essentially different from the Greeks?
  • Greek professor
  • The difference, the man finally confided, was that the Greeks didn't have our idea of progress. He thought they were probably happier because of that.
  • why was there the this in the piece's title "This Progress"? Perhaps it's because progress only exists as an idea when we lend credence to it: our own personal idea of progress rather than something that exists naturally. Awareness of this is important. We need to interrogate the idea of progress, both in terms of what we believe and what society around us believes. Too often we're simply swept along by the flow of time. The power of the idea – the power of the thought experiment, whether Lévi-Strauss's questioning of the goal of writing or Sehgal's questioning of progress – is that it allows reclamation of agency.
Barbara Lindsey

Scholar 2.0: Public Intellectualism Meets the Open Web - 1 views

  • for the most part, knowledge created by academics is placed mostly in outlets that can be accessed only by “the knowledge elite.”
  • I have become so used to publishing directly to the Web that I felt shackled by the constraints of the print medium.
  • open access and peer-review are NOT mutually exclusive
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  • you write something really important, sign over your rights to a for-profit publisher and then that publisher charges YOUR university (and potentially other subscribers; individual or organizational) a fee to carry that journal. In other words, you are giving your knowledge to a company so they can sell it back to your university
  • Hypertext is the (not so) new endnote/footnote.
  • Most print journals STILL cannot handle color graphics. With incredible advances in data visualization technology, there must be a move to publishing to the Web directly.
  • As a result of her use of various forms of social media, Ravitch has (amazingly) positioned herself as the leading voice of the counter-narrative to the dominant educational policy agenda.
  • motivated by sharing with others, a blog allows scholars to disseminate content and express opinions to larger audiences than more traditional outlets. Second, needing room for creativity and self-reflection, the blog is a tool for practicing writing and for keeping up-to-date and remembering; it is a space to house early articulations of one’s ideas. Finally, valuing connections, the participants used their blogs for interacting and creating relationships with others.
  • A recent post about charter schools on Dr. Baker's blog includes 25 comments which, together, comprise a great argument between Bruce, Stuart Buck and Kevin Welner. That conversation happened "in public," not at some exclusive conference or behind some paywall. How can you read that conversation and not recognize the value of blogs as spaces for scholarly communication?
  • there is a real need for content-area experts who can serve as curators.
  • One could certainly argue that content curation is not a new kind of authorship. Editing books or journals is about content curation and has traditionally "counted" as authorship for tenure and promotion purposes. However, at the risk of sounding repetitive, our tools for content creation are new.
  • Social bookmarking tools are also incredibly simple to use and ideal for curating content. Diigo and Delicious are the two most widely adopted free social bookmarking services. Users can "bookmark" sites, aggregate them using tags, and then share their collections publicly.
  • unlike content curation in a print medium, that collection is dynamic (I can add or delete at any time) and interactive (visitors can comment on any of the items in the collection and start a conversation of sorts). I believe this to be a truly modern and increasingly important form of scholarly activity. 
  • There are other forms of modern scholarly activity that are well-worth considering, including webinars and podcasting.
  • Gideon Burton, Assistant Professor of English at Brigham Young University, who writes: I don't want to be complicit in sustaining a knowledge economy that rewards its participants when they invest in burying and restricting knowledge. This is why Open Access is more than a new model for scholarly publishing, it is the only ethical move available to scholars who take their own work seriously enough to believe its value lies in how well it engages many publics and not just a few peers (para. 7).
  •  
    For BWCT 2011 syllabus
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