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Barbara Lindsey

Doodle: Easy Scheduling - 0 views

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    We used this to schedule a time for our course meetings.
Barbara Lindsey

After Frustrations in Second Life, Colleges Look to New Virtual Worlds - Technology - T... - 0 views

  • It turns out that virtual worlds are at their best when they look nothing like a traditional campus. Professors are finding that they can stage medical simulations, guide students through the inside of cell structures, or pre­sent other imaginative teaching exercises that cannot be done in a physical classroom.
  • OpenSimulator, and it is essentially a free knockoff of Second Life
  • The most ambitious attempt to build an education-friendly virtual world is a project called Open Cobalt,
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  • led by researchers at Duke University
  • Any college with a spare server and some staff time can use the OpenSimulator software and play God to a virtual world.
  • The main request is the ability to limit access to students in a course, which the group can do.
  • To counter these new options, Linden Lab is testing a product that would let colleges install a world on their own servers and limit access to students and professors. Case Western is among those trying it out for its virtual campus.
  • Maybe 3-D online environments are just one of those technologies that sound cool but never fully materialize, like personal jetpacks. Trying to make the World Wide Web look like the real world misses the new kinds of things the Internet can do.
  • "We don't ­really understand what we can do and what we can't do with this tool for education yet, so it's more exploratory now," said Peter J. Ludlow, a philosophy professor at Northwestern University who studies virtual worlds. "We know there's something here, but we don't know what yet."
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    It turns out that virtual worlds are at their best when they look nothing like a traditional campus. Professors are finding that they can stage medical simulations, guide students through the inside of cell structures, or pre sent other imaginative teaching exercises that cannot be done in a physical classroom.
Celeste Arrieta

Wordle as a reading comprehension tool? - Middle School Portal - 1 views

  • I came across Wordle some time ago, thought it was pretty nifty, and then forgot about it. An article in the August 2009 issue of Learning & Leading with Technology ("Words in a Cloud" by Samantha Morra) made me reflect on the power of this fun tool. In the article, Morra describes using Wordle with her middle school students to visually analyze important documents, such as the Declaration of Independence. I began thinking about science and math class and wondered if the tool might help students identify the main concepts of a passage. However, I don't have access to any middle school textbooks to test this out!
  • If you want to use it as a pre-reading activity, copy and paste your text (or type a few paragraphs) into wordle to create the word cloud. The size of the words indicates the frequency of their use in the text. In essence, major concepts/terms will show up bigger than others. Have students create a prediction about the reading based on what appears in the word cloud.
  • If you want to use it as a post-reading activity, I have had students keep a running list of words that jump out at them while reading a particular passage (or you can give them a more specific purpose for selecting words). Then, they create their own word clouds. It's a nice formative assessment for teachers to see what students are noticing while reading (or NOT noticing...).
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  • I have also asked students to write a beginning of the year letter to me about themselves. We then "wordle" the letter and print the graphic. I hang the graphics on the wall of the classrooms to show a snapshot of the different people in the class.
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

Learning Spaces | EDUCAUSE - 0 views

  • Net Gen students are facile at multitasking
    • Barbara Lindsey
       
      The research shows that no one can multitask effectively... See John Medina and Brain Rules, for example.
  • Workers anticipated having a single profession for the duration of their working lives. Education was based on a factory-like, "one size fits all" model. Talent was developed by weeding out those who could not do well in a monochromatic learning environment.
    • Barbara Lindsey
       
      Also part and parcel of hegemonic educational practices which served to reinforce the existing social and economic paradigm.
  • Knowing now means using a well-organized set of facts to find new information and to solve novel problems. In 1900, learning consisted largely of memorization; today it relies chiefly on understanding.
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  • learners construct knowledge by understanding new information building on their current understanding and expertise. Constructivism contradicts the idea that learning is the transmission of content to a passive receiver. Instead, it views learning as an active process, always based on the learner's current understanding or intellectual paradigm. Knowledge is constructed by assimilating new information into the learner's knowledge paradigm. A learner does not come to a classroom or a course Web site with a mind that is a tabula rasa, a blank slate. Each learner arrives at a learning "site" with some preexisting level of understanding.
  • Learning science research also highlights the importance of learner engagement, or as the American Psychological Association describes it, intentional learning.1 This means that learners must have a "metaperspective" from which to view and assess their own learning, which is often referred to as metacognition.2 An active learning environment provides the opportunity to assess one's own learning, enabling learners to make decisions about the course, as well as reflect on and assess their progress. In the past, the measure of learning was the final grade (a summative measure). But a final grade is merely a measure of the student's performance on tests. It does not measure the learning that did—or did not—take place. To encourage learning, summative testing or assessments must be combined with formative assessments. Formative assessment is not directly associated with the final grade; it helps learners understand their learning and make decisions about next steps based on that understanding.
  • research indicating that learning is encouraged when it includes social components such as debate or direct engagement with peers and experts. Learning is strengthened through social interactions, interpersonal relations, and communication with others.
  • Research indicates that learners need to be active with respect to their own learning process and assessment. Net Gen students' goal and achievement orientation comes into play here: that achievement focus can be directed toward quizzes and exercises that assist learners in evaluating their progress toward learning goals.
  • Obviously not all forms of learning must be social or team-based. In a variety of learning contexts, individual work is important. It may well be that Net Gen students' strengths are also their weaknesses. The expectation for fast-paced, rapidly shifting interaction coupled with a relatively short attention span may be counterproductive in many learning contexts. Repetition and steady, patient practice—key to some forms of mastery—may prove difficult for Net Gen students. Designing courses for them necessitates balancing these strengths and weaknesses.
  • We should not neglect the informal for the formal, or assume that Net Gen students somehow will figure out the virtual space on their own. We should connect what happens in the classroom with what happens in informal and virtual spaces.
  • Simply installing wireless access points and fresh carpeting isn't enough if done in isolation; such improvements pay real dividends only if they are in concert with the institution's overall teaching and learning objectives. It is the vision that generates the design principles that will, in turn, be used to make key decisions about how learning spaces are configured.
  • The vision and design principles should emphasize the options students have as active participants in the learning process. Design principles should include terms such as analyze, create, criticize, debate, present, and classify—all directed at what the space enables the students to do. For example, students should be able to present materials to the class. Outside class, they should have access to applications and materials that directly support analysis of data, text, and other media. Forums for discussion and critical debate, both real and virtual, are key to encouraging learning and will be looked for by Net Gen students.
  • Learning spaces should accommodate the use of as many kinds of materials as possible and enable the display of and access to those materials by all participants. Learning space needs to provide the participants—instructors and students alike—with interactive tools that enable exploration, probing, and examination. This might include a robust set of applications installed on the computer that controls the room's displays, as well as a set of communication tools. Since the process of examination and debate leads to discovery and the construction of new knowledge, it could be important to equip spaces with devices that can capture classroom discussion and debate, which can be distributed to all participants for future reference and study.
  • the end of the class meeting marks a transition from one learning mode to another.
  • This lecture hall is of relatively recent vintage; its seats and paired tables make it much easier to deploy and use her "tools," which include printouts of the day's reading, as well as a small laptop computer. Her fellow students are doing likewise. Each of them is using some device to access the course's Web site—some with laptops, others with tablet computers, still others with handheld computers. Using wireless connections, they all access the course's Web site and navigate to the site's "voting" page.
  • a "magic wand," a radio-frequency controller that enables her to operate her computer—as well as many of the classroom's functions—wirelessly, from any point in the room. She can capture anything she writes on the blackboard and make it available to her students on the course Web site. Freed from needing to take extensive notes, the students are able to participate more fully in the class discussion. Finally, the professor is carrying a small recorder that captures her lecture, digitizes the audio, and uploads it to the course Web site for the students to review when they prepare for finals.
  • Sandra launches the classroom's screen sharing application. Within a few seconds, her computer's screen is projected on the room's main screen. The class discussion focuses on this diagram, and the professor, using a virtual pencil, is able to make notes on the diagram. The diagram and notes are captured and placed on the class Web site for review.
  • Soon the debate gets stuck; the students can't resolve the issue. The professor goes to the podium, types briefly, and then asks the students to go to a URL to see a question and to choose the answer they feel is correct. The students access the Web page from laptops, handhelds, or wireless IP-based phones. In two minutes they have completed the poll and submitted their responses. The results are quickly tabulated and displayed. The wide diversity of opinion surprises everyone. The professor reframes the issue, without giving the answer, and the students continue to discuss it. She repeats the poll; this time there is more agreement among the students, enabling her to move the discussion forward.
    • Barbara Lindsey
       
      Could you see being able to do this? Would this work for you?
  • She goes to the podium computer and clicks on a few links, and soon a videoconferencing session is displayed on the right-hand screen. She has arranged to have a colleague of hers "drop in" on the class to discuss a point that is in the colleague's particular area of expertise. The class has a conversation with the expert, who is at large research institution more than 500 miles away. Students listen to the expert's comments and are able to pose questions using one of the three cordless microphones available to the class. On the left-hand screen, the visiting professor shows some images and charts that help explain the concepts under discussion.
  • the other students in her class have signed up for most of the slots, conferring with friends using chat programs to ensure that they sign up for the same lab slots.
  • The discussion pocket is the college's term for a small, curved space with a table and bench to accommodate a meeting of four or five people. Found outside the newer classrooms, they are handy for informal, spontaneous discussions. Sandra's group moves into the pocket and for the next 15 minutes continue their "spill over" discussion of the class.
    • Barbara Lindsey
       
      How does this change perceptions of when and where learning begins and ends?
  • hey are able to have an audio chat; Sandra's friend is in her dorm room, and Sandra is in a remote corner of the library where conversation will not disturb others. As their discussion progresses, they go to the course's Web site and launch the virtual whiteboard to diagram some concepts. They develop a conceptual diagram—drawing, erasing, and revising it until they agree the diagram is correct. They both download a copy. Sandra volunteers to work on polishing the diagram and will leave a copy of the final diagram in her share folder in her online portfolio "locker
  • The underlying theme remains the same, however: cultivating learning practices consistent with learning theory and aligned with the habits and expectations of Net Gen students
  • For most higher education institutions, the lecture hall will not disappear; the challenge is to develop a new generation of lecture hall, one that enables Net Gen students and faculty to engage in enlivened, more interactive experiences. If the lecture hall is integrated with other spaces—physically as well as virtually—it will enable participants to sustain the momentum from the class session into other learning contexts. The goal is not to do away with the traditional classroom, but rather to reinvent and to integrate it with the other learning spaces, moving toward a single learning environment.
  • Learning theory is central to any consideration of learning spaces; colleges and universities cannot afford to invest in "fads" tailored to the Net Gen student that might not meet the needs of the next generation.
  • For example, start with the Net Gen students' focus on goals and achievement. That achievement orientation ties to learning theory's emphasis on metacognition, where learners assess their progress and make active decisions to achieve learning goals. Learning space design could support this by providing contact with people who can provide feedback: tutors, consultants, and faculty. This could, in turn, be supported in the IT environment by making formative self-tests available, as well as an online portfolio, which would afford students the opportunity to assess their overall academic progress.
  • As institutions create an anywhere, anytime IT infrastructure, opportunities arise to tear down silos and replace them with a more ubiquitous learning environment. Using laptops and other networked devices, students and faculty are increasingly able to carry their entire working environment with them. To capitalize on this, campus organizations must work collaboratively to create a more integrated work environment for the students and faculty, one that better serves the mobile Net Gen students as well as a faculty faced with the initial influx of these students into their ranks
  • One of the key variables is the institution itself. Learning spaces are institutional in scope—their implementation involves the institution's culture, tradition, and mission.
  • The starting point for rethinking learning spaces to support Net Gen students begins with an underlying vision for the learning activities these spaces should support. This vision should be informed by learning theory, as well as by recognition of the characteristics of the students and faculty who use these spaces.
Barbara Lindsey

Talk:Richard Feynman - Wikipedia, the free encyclopedia - 0 views

  • It's just one thing he did, 33 years ago. I was there. But it doesn't need to be in the lead. Dicklyon 22:48, 19 July 2007 (UTC)
  • The main article states pronunciation as fɑɪnmən, but the IPA page does not list ɑɪ as a vowel combination. I believe it should be faɪnmən instead. —The preceding unsigned comment was added by Chris Purves (talk • contribs) 15:32:46, August 19, 2007 (UTC).
  • Richard Feynman is a former featured article. Please see the links under Article milestones below for its original nomination page (for older articles, check the nomination archive) and why it was removed.
Barbara Lindsey

Anatomy of a Project: "Give Me Shelter" | Edutopia - 0 views

  •  
    fall 2011 syllabus
Barbara Lindsey

Create, Share and Learn with a Global Repository of Tests - 0 views

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    fall 2011 syllabus
Barbara Lindsey

The OU's mission | About the OU | Open University - 0 views

  • We promote educational opportunity and social justice by providing high-quality university education to all who wish to realise their ambitions and fulfil their potential.
  • Nearly all of our undergraduate courses have no formal entry requirements, either prior qualifications or experience.
  • We believe that it is the qualifications with which our students leave, rather than those with which they enter, that count.
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  • We have an Access Centre dedicated to ensuring our disabled students are provided with whatever technical and practical support they need to study successfully. Support can mean anything from special computer software to sitting exams in their own home, having a personal assistant at day or residential school, and advice on available funding support.
  • We have developed a range of ways to include people from under-represented groups in higher education. Working in partnership with locally-based organisations we are able to offer programmes that reach out to potential students in their communities. And we are also working to make sure that these students receive the support they need to succeed in their studies.
    • Barbara Lindsey
       
      Where do we see this approach in the U.S.? Why?
  • As part of our mission we are making an increasing amount of Open University teaching and learning resources available free of charge to anyone with access to the internet, no matter where in the world they live.
  • Is the OU a real university?
    • Barbara Lindsey
       
      How do they address this? What metrics do they use? How do they measure up against traditional metrics of program excellence?
Barbara Lindsey

a brief philosophy of "anti-teaching" | Savage Minds - 0 views

  • But while the sheer numbers of students are a burden in one sense, there is also tremendous potential. Think of the knowledge and life experience that is in that single room, if only I could find a way to harness it! I wanted the students to be fully engaged, talking to one another, grappling with interesting questions, and exploring any and all resources to find answers (and more questions). I wanted them to really get a strong sense of the importance of what we discuss in cultural anthropology. I wanted them to expand their empathy, to actually try to experience the life-worlds of others. Above all, I wanted them to recognize their own importance in helping to shape an increasingly globally interconnected world society.
  • The creativity of the students in creating their cultures subverts any simple monocausal determinism (just as human creativity does in the real world). Environmental determinism is just one theory on the table as students try to create a reasonably realistic culture that could exist within their given environment. To add realism, students are required to provide comparisons to real life cultures at every step along the way, justifying why they have chosen to construct their culture in one way rather than another (sometimes creating elaborate histories to explain some unique characteristic). Three weeks before the end of the semester, all groups have completed their culture and submit a final ethnography to me. I read these over, and begin planning the main event: the world simulation.
  • World Simulation. Students are asked to imagine the world in the classroom. We create a map that mimics the geographical, environmental, and biological diversity of our real world. The map is laid onto a map of the classroom, and students are asked to imagine themselves living in the environment that maps onto them. The class is divided into 15-20 groups of about 12-20 students in each group. Each group is challenged to create their own cultures to survive in their own unique environments.
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  • To Orange, I will show an actual example of a map in my next full post and explain more about the parameters that are given and what the students fill in themselves. You raise a much more important question though, about the necessity of simplifying in order for the simulation to work. This aspect of the simulation almost led me to abandon the whole thing as I started to think it through and plan for it. Instead I found two ways to deal with it: 1. I challenge my students to tell me where the simulation is oversimplified and make their own case for how the simulation should change for the next time it is performed. This way they are not simply accepting our imaginary world “as is” and are instead actively thinking about how the real world works and how we may have misrepresented it in our simulation. (Even if the simulation fails miserably, it has succeeded in getting students to think about how the world works!) 2. I encourage the students to use the simplification as a canvas on which they can build and/or interpret complexity. In a lecture format I only have so much time to cover the effects of colonization – perhaps 50 minutes – not enough to really explore all of the different facets. In the World Simulation I can encourage each student to think about how colonization would affect their culture in multiple ways and at multiple levels (e.g. infrastructure, social structure, superstructure). Sometimes this is to complex to be incorporated into the simulation, but they are asked to do a reflection paper immediately following the simulation in which they write their own “cultural history.” This written format allows them to explore some complexities they might not have had the time or means to express in the simulation.
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