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Barbara Lindsey

Open Resources - Transforming the Way Knowledge Is Spread - NYTimes.com - 0 views

  • the five functions now performed by universities — teaching; providing a space for social interaction; testing students’ knowledge and offering feedback in the form of grades; cultivating a reputation as a good place to learn; and certifying what graduates know through accreditation — will inevitably change.
  • In October 2003, there were 511 courses available, all from M.I.T. According to Ms. Mulder, the current total is over 21,000 — with 9,903 in languages other than English, including Chinese, Spanish, Portuguese, French, Catalan, Hebrew, Farsi, Turkish, Korean and Japanese.
  • The school’s Masters Series Madrid is a game — with soundtrack, 3-D graphics and interviews with executives — that allows students to manage an international tennis tournament. “It’s a great way for people to see our school,” said Matthew Constantine, a member of the IE staff.
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  • Although all of the material on IE’s Web site is free for individual use, he said, the school “avoided developing material for self-learning” because “we think class discussion is essential.”
  • “If you don’t ‘close’ education in certain ways then you are out of business.”
  • “The completion rates for students in purely online programs are very low,” he said. “If a program is too open, too flexible, too ‘on demand,’ students won’t ever finish.”
  • Mr. Mulder also warned against viewing O.E.R. as a panacea. “O.E.R. is not education,” he said. “It’s only content. It becomes learning when you have good teaching.”
Barbara Lindsey

Flipped Classroom: Beyond the Videos | Catlin Tucker, Honors English Teacher - 0 views

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    Fall 2012 syllabus
Barbara Lindsey

12 Tech Tools That Will Transform The Way You Teach! | Catlin Tucker, Honors English Te... - 0 views

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    As always, check to see if these are free, freemium or pay for apps and also what limitations they carry if free.
Barbara Lindsey

I'd like to think that I help people to learn English: Fotobabble - 0 views

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    You can record 1 min of audio with a picture and then put on a blog or wiki, et.c
Barbara Lindsey

Do You Speak "Academia"? » Edurati Review - 0 views

  • the opening main clause, “Education is an all-encompassing institution,” makes little sense, and the rest of the sentence fails to clarify its meaning. The use of “each and every” is redundant; if each continent and culture, then, by default, it is every continent and culture. After the semicolon, good verbs become weak adjectives: functional and organizational. The entire paragraph could be restructured as an easily understood sentence: In every society, schools organize, function, and operate similarly.
  • Why pick on paragraphs pulled from their contexts? If you read (or try to read) educational journals, you’ll find that these examples are not isolated. They illustrate the “academic style” characterizing such periodicals. These periodicals, their supporters argue, provide the link between research and classroom practice. But the poor communication—the academic writing—requires the reader to add steps to the usually efficient cognition of comprehension. The reader is forced to pause and ask, “What does that mean in plain English?” It’s not that different from reading text in a second language, one in which the reader may be knowledgeable but not proficient.
  • This same gap often exists between students and their textbooks.
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  • This issue is so prevalent that some experts recommend we teach students “academic language.”
  • This additional distance between the writer and reader decreases the likelihood that the journals will actually be read. And if the journals are not read by teachers, the research will be slow to influence educational practice, if it does at all.
  • We are spending time, effort, and sometimes money on research doomed to remain idle because it’s not communicated well. The poor writing prevents worthwhile application.
  • If understanding depends on translating the language, students who struggle with this prerequisite may lack the motivation or inertia to think beyond, or even through, the interpretation. We’re making understanding more difficult—a seeming antithesis to our role as educators.
  • Why can’t “academic” journals and textbooks utilize common principles of good writing. Why do we insist on communication complexity when our goals would be better served by simple clarity?
  • Status? Are we insisting on “academic writing” because it separates journals from the “rags” intended for the masses or textbooks from the unlearned? If so, our goal must be to maintain some perceived elite readership—a readership probably not teaching or sitting in our classrooms.
  • Do we think that our research and subject matter is complicated, therefore our communicating should also be complex? This is so contrary to logic and sound teaching that it’s an oxymoron.
  • A complex topic requires simple writing, especially when the reader likely lacks the author’s background knowledge and experience. This is almost always the case when a researcher seeks to address individuals who were not part of the research team or involved in similar research themselves, or when experts in a field seek to articulate concepts for students.
  • Medina presents ideas simply and in ways known to foster learning. As the brain engages in elaboration, it overlays new data with known experiences, making connections that help construct understanding. Medina relates a new, complex topic to a familiar childhood activity—origami (even though he is not writing for children). By giving us a reference point for understanding DNA, he equips us with the tools needed to construct understanding. Isn’t this what we should be striving for, both in our textbooks and our journals?
Barbara Lindsey

Microsoft, Google eye Arabic web growth potential | Reuters - 0 views

  • "One of our biggest missions is to enable Arabic users to find the right tools to enrich Arabic content," Ghonim said. "It would be great to see more e-commerce in the region, more publishers, more news sites. We are committed to help them."
  • Ghonim said Arabic speakers have historically engaged in poorly organized and difficult to archive forums, citing a message board used by 400,000 teachers in Saudi Arabia.Both Google and Microsoft place Arabic in their top ten languages in need of prioritized attention.
  • "The next few million Egyptian internet users will be people who don't really speak English," Ghonim said.
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  • "Think of the guy running a very small one-stop shop in (Nile delta industrial city) Mahalla," Ghonim said. "You should facilitate for him a complete experience in Arabic, from the way he registers his domain to finding a hosting company to communicating to his customers."
  • Mundie said the Arab world was well-placed to skip PC-dominated use and go straight to mobile internet.
Barbara Lindsey

Stalking in English Class | Remote Access - 0 views

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    Great class activity that has students try to find everything they can about three well known digital citizens using only their names and pictures.
Barbara Lindsey

Comparing Social Networking to Online Communities | Common Craft - Explanations In Plai... - 0 views

    • Barbara Lindsey
       
      Important aspect of social networking
  • In most traditional online communities, members have profiles that may display a picture, location, recent posts and membership tenure at most. These profiles can provide valuable context to the community, but they are often peripheral to the discussions and remain somewhat hidden.
  • In contrast, social networking communities have elevated the user profile to become more like a user homepage that displays a very rich and contextual set of information. The member home pages are not peripheral to the discussions or a subset of the community; they are at the very core of the system.
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  • In traditional online communities, discussion is the center of the interaction and identity building. Members create relationships (and their own community identities) based on information they post in online discussions
  • identities can be built based on the display of the member’s choices of memberships in forums and connections to other people (among other things) on their home page.
  • Relationships in traditional communities are rarely made explicit.
  • Social networking, on the other hand, enables individual members to share explicit relationships with people and forums. Members use their home pages as rich representations of their preferences- which enable them to express their identity through explicitly shared forum membership and connections to other members.
  • Often, traditional online communities are managed so that new forums are built within a specific structure
  • An example of bucketed forums may be Technology-->Internet-->Online Communities-->Moderation Techniques-->Dealing with Spammers.
  • In social networking, the creation of new forums is done in a more emergent way and within a flatter hierarchy. A single member is free to create a new forum without placing it into a preset hierarchy.
  • New forums are a child of the whole system instead of being a child of a more general branch of the system. As new forums gain membership/popularity, they have equal opportunity to gain visibility in the system, similar to the weblog community.
  • Traditional discussion-based communities use discussion and/or organizations of discussions as the primary form of navigation. Members
  • Traditional discussion-based communities use discussion and/or organizations of discussions as the primary form of navigation.
  • The connections are held together by explicit relationships (people links) and interests (forum links) and do not depend on discussion content.
suzanne ondrus

Ending the semester, Lessons Learned (Part 4: Assessment) | Language Lab Unleashed! - 0 views

  • I see teaching as constantly re-tooling, tweaking, re-evaluating, scrapping, starting over.
  • One of my goals for this class (and for me) was to see what student-centered assessment would look like in a conversation class. I took a big leap and gave the reigns over to them. The content of the class and flow of the class was based on their interested and idea. They were there because they had personal goals that needed to be acknowledged and realized… or at least approximated.
    • Barbara Lindsey
       
      What do you think about this?
    • suzanne ondrus
       
      This is a really cool idea! It resonates with Vance's approach.
  • What would happen if I felt they didn’t merit the grade they said they did? what if they all wanted an A+?
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  • This is what I asked each student to do: 1) create a series of three goals or metas, one progressively more complex than the other, and each building upon the other, that were to be accomplished his term. The first goal was to be done by the end of March, the second by the end of April, the third maybe by the end of the term…but probably not. 2) create a series of tasks that s/he felt would lead to realizing those goals. 3) blog about about his or her progress at least 2 times per week 4) At the end of the term: write up a final self assessment (in English or in Spanish), reflecting upon the progress completed, including the work done in class that would contribute to these goals, and assign a grade for the term. The students needed to evidence of their progress as a way of justifying their chosen grade. CAVEAT: If the grade s/he chose was lower than one than I would have selected, they would get my grade and an explanation. If the grade was higher, we would continue the conversation and try to see what it was that I was missing. I was willing to be (and wanted to be!) swayed, given that this was the student’s assessment of his/her personal learning goals in Spanish.
  • Some (but very few indeed) met ALL of their goals. Almost all acknowledged that they had set up unrealistic expectations for themselves (in terms of how much they could get done in a semester) and many used their self assessment as a way to set up future goals for their language growth. (Exactly the kinda thing you hope to see happen…learning extending beyond the limits imposed by the classroom).
    • Barbara Lindsey
       
      If I understand correctly, Barbara Sawhill then did not tell them to revise their metagoals?
  • A shy, timid young man, he did not mention in his evaluation the class discussion he led, and managed, and blogged about at the end of the term… nor did he see how any of this was helping him move towards his most lofty goal…to be able to travel with friends in Spain and to be able to communicate with ease and without anxiety.
  • It pains me to read this, but not because of the critiques she makes about me, the tools, or the class. It pains me because Edie passed on an opportunity to try something new, experiment, take a calculated risk…all things she will eventually have to do when she travels in another culture. It’s sad because she was the only student who did not “let go” of something during the semester and instead just held on tight to how she wanted this class to be, vs how it really, truly was. Unstructured to her meant undirected. Allowing the group to decide the flow of the class frustrated her, because the cadence of the class was not one that was controlled by the teacher and therefore predictable
    • Barbara Lindsey
       
      Do you think this is a fair critique?
    • suzanne ondrus
       
      I don't see how this problem situation happened. The teachr said that each individual student had to make individual goals and tasks!
  • In the end, she presented me with a chart that logged over 40 hours of Skype conversations with a native speaker she eventually found, and 110 pages (!) of chat transcripts with others with whom she tried to make regular contact. In class, as a result of her out of class experiences, she became more involved and engaged, eventually leading a class discussion about her interests in music, but doing so such that it wove itself in with the topic the class was discussing that week.
    • Barbara Lindsey
       
      Is there anything in Batson's interview, "Beyond Campus Boundaries", that you see reflected here? Could you picture using similar assessments with your students?
Barbara Lindsey

Purdue OWL - 0 views

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    Documenting Electronic Sources in Specific Disciplines
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.
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    By Bryan Alexander and Alan Levine
Barbara Lindsey

Higher Education Reimagined With Online Courseware - Education Life - NYTimes.com - 0 views

  • M.I.T. officials like to tell about an unsolicited comment they received one day about the online course “Introduction to Solid State Chemistry.” “I learned a LOT from these lectures and the other course material,” the comment said. “Thank you for having it online.” The officials did a double take. It was from Bill Gates. (Really.)
  • But just 9 percent of those who use M.I.T. OpenCourseWare are educators. Forty-two percent are students enrolled at other institutions, while another 43 percent are independent learners like Mr. Gates. Yale, which began putting free courses online just four years ago, is seeing similar proportions: 25 percent are students, a majority of them enrolled at Yale or prospective students; just 6 percent are educators; and 69 percent are independent learners.
  • Professor Shankar is working on his second semester of recorded videos, and says that the experience has improved his teaching.
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  • So Professor Shankar has begun inserting links to specific portions of Professor Lewin’s course, and, “since any mistake would affect larger numbers of students listening online,” he says, he thinks harder about every topic he teaches in the classroom.
  • His intense, animated ruminations — the title of his course is “Death” — have brought fan mail from Mexico, Iraq, Korea and China. Several months ago, he got a response from somebody suffering from a brain injury and who was using the lectures to exercise his mind. “I don’t think anyone knows what this will do to education 15 years from now,” Professor Kagan says. “But even if it does nothing more than that, that’s enough.”
  • The backers of free courseware acknowledge the benefit of self-enrichment. Still, they say they expect open education not only to expand access to information but also to lead to success in higher education, particularly among low-income students and those who are first in their family to go to college.
  • Carnegie Mellon’s Open Learning Initiative is working with teams of faculty members, researchers on learning and software engineers to develop e-courses designed to improve the educational experience.
  • Carnegie Mellon is working with community colleges to build four more courses, with the three-year goal of 25 percent more students passing when the class is bolstered by the online instruction.
  • The intended user is the beginning college student, whom Dr. Smith describes as “someone with limited prior knowledge in a college subject and with little or no experience in successfully directing his or her own learning.”
  • . “We now have the technology that enables us to go back to what we all know is the best educational experience: personalized, interactive engagement,” Dr. Smith says.
  • That won’t happen, and in the terms-of-use section of Open Yale Courses, the university makes that clear. Besides not granting degrees or certificates, open courses do not offer direct access to faculty. They, in other words, are strictly “for those who wish to learn,” as the Web site says. “Its purpose is not to duplicate a Yale education.”
  • Open courseware is a classic example of disruptive technology, which, loosely defined, is an innovation that comes along one day to change a product or service, often standing an industry on its head. Craigslist did this to newspapers by posting classified ads for free. And the music industry got blindsided when iTunes started unbundling songs from albums and selling them for 99 cents apiece.
  • Mr. Schonfeld sees still more potential in “unbundling” the four elements of educating: design of a course, delivery of that course, delivery of credit and delivery of a degree. “Traditionally, they’ve all lived in the same institutional setting.” Must all four continue to live together, or can one or more be outsourced?
  • P2PU’s mission isn’t to develop a model and stick with it. It is to “experiment and iterate,” says Ms. Paharia, the former executive director of Creative Commons. She likes to talk about signals, a concept borrowed from economics. “Having a degree is a signal,” she says. “It’s a signal to employers that you’ve passed a certain bar.” Here’s the radical part: Ms. Paharia doesn’t think degrees are necessary. P2PU is working to come up with alternative signals that indicate to potential employers that an individual is a good thinker and has the skills he or she claims to have — maybe a written report or an online portfolio.
  • David Wiley, associate professor of instructional psychology and technology at Brigham Young University, is an adviser to P2PU. For the past several years, he has been referring to “the disaggregation of higher education,” the breaking apart of university functions. Dr. Wiley says that models like P2PU address an important component missing from open courseware: human support. That is, when you have a question, whom can you ask? “No one gets all the way through a textbook without a dozen questions,” he says. “Who’s the T.A.? Where’s your study group?” “If you go to M.I.T. OpenCourseWare, there’s no way to find out who else is studying the same material and ask them for help,” he says. At P2PU, a “course organizer” leads the discussion but “you are working together with others, so when you have a question you can ask any of your peers. The core idea of P2PU is putting people together around these open courses.”
  • Mr. Reshef’s plan is to “take anyone, anyone whatsoever,” as long as they can pass an English orientation course and a course in basic computer skills, and have a high school diploma or equivalent. The nonprofit venture has accepted, and enrolled, 380 of 3,000 applicants, and is trying to raise funds through microphilanthropy — “$80 will send one student to UoPeople for a term” — through social networking.
  • Mr. Reshef has used $1 million of his own money to start the University of the People, which taps open courses that other universities have put online and relies on student interaction to guide learning; students even grade one another’s papers.
Barbara Lindsey

Twitter's role in Bangkok conflict unprecedented - The Globe and Mail - 0 views

  • “We all become our own news wire service, breaking stories and events instantly. Did [tweets from inside Wat Pathum] prevent a massacre? Maybe they did. Who knows?” wrote Andrew Spooner, a London-based journalist who waded deep into the Thailand story from afar, tweeting about events from a decidedly pro-Red Shirt perspective.
  • That partisanship was the ugly side of Twitter’s role in the Thai crisis. While the social networking site did perhaps save lives in a few specific instances, Twitter – and the opportunity it gives to instantly broadcast whatever is on your mind, often from behind a cloak of near-anonymity – also gave Thais and foreigners living here the chance to broadcast vitriolic, often hateful, thoughts to the world, raising the temperature inside this already volatile country and arguably helping nudge the situation toward its violent end.
  • “More people will die inside Wat Patum unless we get ceasefire to get to hospital across the road,” I added a few minutes later, as my desperation grew. Within minutes, my pleas had indeed been retweeted hundreds, maybe thousands of times, in English, Thai and other languages. They were posted on the websites of Britain’s The Guardian newspaper and other international media. People I knew only through Twitter started calling me to check on our situation. More helpfully, others started calling embassies, hospitals and the Thai government. Eighty minutes later, I was carrying stretchers out to a row of waiting ambulances. “Twitter may just have done this,” was my next update.
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  • “People were not really that interested in Twitter until Thaksin started using it,” said Ms. Poomjit, the Internet freedom activist. “He made it a trend.”
Barbara Lindsey

A Fairy Tale? « Larry Cuban on School Reform and Classroom Practice - 0 views

  • what they had learned in school did not prepare them to face the problems of life, think clearly, be creative, or fulfill their civic duties.
  • So to give high schools the freedom to try new ways of schooling in a democracy, a small band of reformers convinced the best universities to waive their admission requirements and accept graduates from high schools that designed new programs.
  • Between 1933-1941, thirty high schools in the country and over 300 universities and colleges joined the experiment sponsored by the Progressive Education Association.
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  • Called “The Eight Year Study,” each high school decided for itself what curricula, schedules, and class sizes would be. There were no college admission requirements or must-take tests. Old lesson plans were scrapped. One school sent classes into the West Virginia coal region to study unions. Science, history, art, and math were often combined in projects that students and teachers planned together.
  • A few principals blocked the experiment. Some school faculties divided into warring factions.
  • While there was much variation among the schools, there were also common elements. Many of the large public high schools (of the 30, fifteen were private) created small schools within the larger one. Principals increased the authority of teachers to design and steer the program; teachers crossed departmental boundaries and created a core curriculum (math/science and English/social studies), set aside three hours a day for teams to work with groups of students, and planned weekly units with students.
  • evaluators established 1,475 pairs of college students, each consisting of a graduate from an experimental school and one graduate of another high school matched as closely as possible as to age, sex, race, social class, and academic performance. They then compared their performance in college.
  • Evaluators found that graduates of the thirty schools earned a slightly higher grade average and more academic honors than those who attended regular high school. Furthermore, the “guinea pigs,” as they were called, were more precise in their thinking, displayed more ingenuity in meeting new situations, and demonstrated an active interest in national and world issues than their matched counterpart.
  • results showed over 70 years ago was that there was no one single best way of schooling teenagers.
  • Later generations of reformers seldom inquired or cared about this large-scale, non-federally funded experiment that showed convincingly that schools, given the freedom to experiment, could produce graduates that not only did well academically in college but, far more important, displayed an active interest in civic affairs, were resourceful in handling new situations, and could think clearly.
  • 1. When engaged teachers, administrators, and students are given the freedom to experiment and the help to do it, they will come through. 2. There is no one best way of schooling youth. 3. Students can graduate high school who are academically engaged, involved in their communities, and thoughtful problem-solvers. 4. Standards of excellence that work in schools are those that are set and done locally by adults and students—not imposed from the top-down.
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