Skip to main content

Home/ beyondwebct/ Group items tagged maintain

Rss Feed Group items tagged

Filter: All | Bookmarks | Topics Simple Middle
Barbara Lindsey

Overview (Powerful Ingredients for Blended Learning) - 0 views

wiki.powerfulingredients.com/...overview

privacy online rights educators fryer

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

Educational Trends « Beyond WebCT: Integrating Social Networking Tools Into L... - 0 views

beyondwebct.wordpress.com/...educational-trends

educational trends comments

shared by Barbara Lindsey on 02 Feb 10 - Cached
  • can one annotate on electronic books
  • “We must rethink ourselves.”
  • there is still a certain hierarchy that needs to be in place or else personal interest will become conflated with the interests of grading (we are still vested with a certain institutional authority, whether or not this is a pedagogical approach)
  • ...9 more annotations...
  • I share your worry about technology becoming a roadblock instead of an open door in teaching.
  • Hopefully, as these approaches become more common and institutionalized, it there will be more opportunities to receive support from colleagues and other educators in their implementation.
  • Online materials are not necessarily peer reviewed, and those which are protected by copyright end up with inflated prices. I am not sure what the answer to this problem might be, but it is something that I would like to examine further in class.
  • Both the teacher AND the students become the LEARNERS.
  • The learners will label, name and design… 2. The learners will paraphrase, explain and illustrate… 3. The learners will demonstrate, prepare and solve… 4. The learners will differentiate, analyze and infer… 5. The learners will devise, revise and integrate… 6. The learners will evaluate, critique and compare…
    • Barbara Lindsey
      Barbara Lindsey on 02 Feb 10
       
      Bloom's taxonomy
  • both assume a business model of competition and profit. Education needs to maintain its sovereignty from what is really a form of hegemony.
  • But that the existence of such technology necessitates a total rethinking of the whole process seems like a power grab by a pervasive form of administration that stems from the business world. It is ridiculous that to be able simply to sit with a book in one’s lap and not be compelled to maintain permanent connectivity has become an act of resistance.
  • And I didn’t really want to hear the opinions of the other students who didn’t know anything more than I did. Or rather, it was nice to have discussions about the professor’s lecture, but without the lecture, there wouldn’t have been anything to discuss. We would have a book club, not a class.
  • By de-emphasizing content and knowledge, we’re turning students into middlemen who will know how to use technology to present a given subject matter, but who will be free to forget it as soon as the next task arrives on their desk.
Barbara Lindsey

Tokyo Green Space | The Japan Times Online - 0 views

www.japantimes.co.jp/...nc20120516br.html

tokyo space communities blogging academia

shared by Barbara Lindsey on 16 May 12 - No Cached
  • In a sense, the blog is the antithesis of my academic training. Universities are about restricted knowledge. We study our own things, keep our research to ourselves so no one will steal our work, and we publish results in journals in a language no one understands. The idea of blogs is all about shared knowledge. I love sharing and getting feedback on my findings, and this blog has introduced me to so many fascinating people from all over the world — students, scholars, urban farmers — and it is really interesting to hear their takes.
  • Tokyo Green Space is a public research project. It involves observing small public green spaces in Tokyo, sharing images and thoughts online in a diary format and connecting with other people online and in person. I've maintained the site for three years out of passion.
  • Barbara Lindsey on 16 May 12
     
    fall 2012 syllabus
Barbara Lindsey

Jean Lave, Etienne Wenger and communities of practice - 1 views

www.infed.org/...communities_of_practice.htm

CoP community education wenger collaboration practice learning communities mafla09 actfl09 blended learning

shared by Barbara Lindsey on 17 Aug 10 - Cached
  • Supposing learning is social and comes largely from of our experience of participating in daily life? It was this thought that formed the basis of a significant rethinking of learning theory in the late 1980s and early 1990s by two researchers from very different disciplines - Jean Lave and Etienne Wenger. Their model of situated learning proposed that learning involved a process of engagement in a 'community of practice'. 
  • When looking closely at everyday activity, she has argued, it is clear that 'learning is ubiquitous in ongoing activity, though often unrecognized as such' (Lave 1993: 5).
  • Communities of practice are formed by people who engage in a process of collective learning in a shared domain of human endeavour: a tribe learning to survive, a band of artists seeking new forms of expression, a group of engineers working on similar problems, a clique of pupils defining their identity in the school, a network of surgeons exploring novel techniques, a gathering of first-time managers helping each other cope. In a nutshell: Communities of practice are groups of people who share a concern or a passion for something they do and learn how to do it better as they interact regularly. (Wenger circa 2007)
    • Barbara Lindsey
      Barbara Lindsey on 02 Sep 10
       
      How many courses have you yourself taken that incorporate this definition of CoP as one of its goals? 
  • ...18 more annotations...
  • Over time, this collective learning results in practices that reflect both the pursuit of our enterprises and the attendant social relations. These practices are thus the property of a kind of community created over time by the sustained pursuit of a shared enterprise. It makes sense, therefore to call these kinds of communities communities of practice. (Wenger 1998: 45)
  • Rather than looking to learning as the acquisition of certain forms of knowledge, Jean Lave and Etienne Wenger have tried to place it in social relationships – situations of co-participation.
  • The fact that they are organizing around some particular area of knowledge and activity gives members a sense of joint enterprise and identity. For a community of practice to function it needs to generate and appropriate a shared repertoire of ideas, commitments and memories. It also needs to develop various resources such as tools, documents, routines, vocabulary and symbols that in some way carry the accumulated knowledge of the community.
  • The interactions involved, and the ability to undertake larger or more complex activities and projects though cooperation, bind people together and help to facilitate relationship and trust
  • The characteristics of communities of practice According to Etienne Wenger (c 2007), three elements are crucial in distinguishing a community of practice from other groups and communities: The domain. A community of practice is is something more than a club of friends or a network of connections between people. 'It has an identity defined by a shared domain of interest. Membership therefore implies a commitment to the domain, and therefore a shared competence that distinguishes members from other people' (op. cit.). The community. 'In pursuing their interest in their domain, members engage in joint activities and discussions, help each other, and share information. They build relationships that enable them to learn from each other' (op. cit.). The practice. 'Members of a community of practice are practitioners. They develop a shared repertoire of resources: experiences, stories, tools, ways of addressing recurring problems—in short a shared practice. This takes time and sustained interaction' (op. cit.).
    • Barbara Lindsey
      Barbara Lindsey on 02 Sep 10
       
      What are your thoughts on the importance of these three domains? Are they important in a course? In a degree program? As part of your professional practice?
  • Initially people have to join communities and learn at the periphery. The things they are involved in, the tasks they do may be less key to the community than others.
  • One of the implications for schools, as Barbara Rogoff and her colleagues suggest is that they must prioritize 'instruction that builds on children's interests in a collaborative way'. Such schools need also to be places where 'learning activities are planned by children as well as adults, and where parents and teachers not only foster children's learning but also learn from their own involvement with children' (2001: 3). Their example in this area have particular force as they are derived from actual school practice.
  • It not so much that learners acquire structures or models to understand the world, but they participate in frameworks that that have structure. Learning involves participation in a community of practice. And that participation 'refers not just to local events of engagement in certain activities with certain people, but to a more encompassing process of being active participants in the practices of social communities and constructing identities in relation to these communities' (Wenger 1999: 4).
  • What is more, and in contrast with learning as internalization, ‘learning as increasing participation in communities of practice concerns the whole person acting in the world’ (Lave and Wenger 1991: 49). The focus is on the ways in which learning is ‘an evolving, continuously renewed set of relations’ (ibid.: 50). In other words, this is a relational view of the person and learning (see the discussion of selfhood).
  • 'the purpose is not to learn from talk as a substitute for legitimate peripheral participation; it is to learn to talk as a key to legitimate peripheral participation'. This orientation has the definite advantage of drawing attention to the need to understand knowledge and learning in context. However, situated learning depends on two claims: It makes no sense to talk of knowledge that is decontextualized, abstract or general. New knowledge and learning are properly conceived as being located in communities of practice (Tennant 1997: 77).
  • There is a risk, as Jean Lave and Etienne Wenger acknowledge, of romanticizing communities of practice.
  • 'In their eagerness to debunk testing, formal education and formal accreditation, they do not analyse how their omission [of a range of questions and issues] affects power relations, access, public knowledge and public accountability' (Tennant 1997: 79).
  • Perhaps the most helpful of these explorations is that of Barbara Rogoff and her colleagues (2001). They examine the work of an innovative school in Salt Lake City and how teachers, students and parents were able to work together to develop an approach to schooling based around the principle that learning 'occurs through interested participation with other learners'.
  • Learning is in the relationships between people. As McDermott (in Murphy 1999:17) puts it: Learning traditionally gets measured as on the assumption that it is a possession of individuals that can be found inside their heads… [Here] learning is in the relationships between people. Learning is in the conditions that bring people together and organize a point of contact that allows for particular pieces of information to take on a relevance; without the points of contact, without the system of relevancies, there is not learning, and there is little memory. Learning does not belong to individual persons, but to the various conversations of which they are a part.
  • Learning is, thus, not seen as the acquisition of knowledge by individuals so much as a process of social participation. The nature of the situation impacts significantly on the process.
  • learning involves a deepening process of participation in a community of practice
  • Acknowledging that communities of practice affect performance is important in part because of their potential to overcome the inherent problems of a slow-moving traditional hierarchy in a fast-moving virtual economy. Communities also appear to be an effective way for organizations to handle unstructured problems and to share knowledge outside of the traditional structural boundaries. In addition, the community concept is acknowledged to be a means of developing and maintaining long-term organizational memory. These outcomes are an important, yet often unrecognized, supplement to the value that individual members of a community obtain in the form of enriched learning and higher motivation to apply what they learn. (Lesser and Storck 2001)
  • Educators need to reflect on their understanding of what constitutes knowledge and practice. Perhaps one of the most important things to grasp here is the extent to which education involves informed and committed action.
Barbara Lindsey

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

eduratireview.com/...do-you-speak-academia

academia writing journals

shared by Barbara Lindsey on 06 Sep 10 - No Cached
  • 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.
  • ...9 more annotations...
  • 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

2008 Horizon Report » One Year or Less: Grassroots Video - 0 views

wp.nmc.org/...grassroots-video

shared by Barbara Lindsey on 09 Sep 08 - Cached
  • Rather than investing in expensive infrastructure, universities are beginning to turn to services like YouTube and iTunes U to host their video content for them. As a result, students—whether on campus or across the globe—have access to an unprecedented and growing range of educational video content from small segments on specific topics to full lectures, all available online.
    • Barbara Lindsey
      Barbara Lindsey on 09 Sep 08
       
      We don't need expensive (to build and maintain) ITV rooms any more.
  • Video capture, in the hands of an entire class, can be a very efficient data collection strategy for field work, or as a way to document service learning projects. Video papers and projects are increasingly common assignments. Student-produced clips on current topics are an avenue for students to research and develop an idea, design and execute the visual form, and broadcast their opinion beyond the walls of their classroom.
  • social networking communities that have evolved around video
  • ...6 more annotations...
  • Amateur cinematographers and musicians use hosting sites to reach a broader audience for their work and to build a network of fans. Increasingly, learning organizations, faculty, scholars, and students are using these tools as well, and in the coming year, it is very likely that such practice will enter the mainstream of use in these institutions.
  • Two professors
  • video illustrates the mathematical concept i
  • video has been watched more than 1.2 million times since it was put on YouTube.
  • VideoANT is an online environment developed at the University of Minnesota that synchronizes web-based video with an author’s timeline-based text annotations. VideoANT is designed to engage learners by supporting interactions between students, instructors, and their video content.
    • Barbara Lindsey
      Barbara Lindsey on 09 Sep 08
       
      Why not mention Viddler? Does the same and no issues with hosting and has more traffic.
  • Examples of Grassroots Video
    • Barbara Lindsey
      Barbara Lindsey on 09 Sep 08
       
      Serious omission of Prof. Wesch's work...
Barbara Lindsey

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

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

HorizonReport opencontent

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

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

www.educause.edu/...163262

storytelling digital web2.0

shared by Barbara Lindsey on 12 Mar 10 - Cached
  • A story is told by one person or by a creative team to an audience that is usually quiet, even receptive. Or at least that’s what a story used to be, and that’s how a story used to be told. Today, with digital networks and social media, this pattern is changing. Stories now are open-ended, branching, hyperlinked, cross-media, participatory, exploratory, and unpredictable. And they are told in new ways: Web 2.0 storytelling picks up these new types of stories and runs with them, accelerating the pace of creation and participation while revealing new directions for narratives to flow.
    • Barbara Lindsey
      Barbara Lindsey on 12 Mar 10
       
      Do you agree with this statement?
    • loisramirez
      loisramirez on 17 Oct 11
       
      I also agree with the statement. A story in this age can take a life of it's own (or many, depending one the variations created), it allows a constant input by others and consequently the evolution of the text and the author as well.
  • To further define the term, we should begin by explaining what we mean by its first part: Web 2.0. Tim O'Reilly coined Web 2.0 in 2004,1 but the label remains difficult to acceptably define. For our present discussion, we will identify two essential features that are useful in distinguishing Web 2.0 projects and platforms from the rest of the web: microcontent and social media.2
  • creating a website through Web 2.0 tools is a radically different matter compared with the days of HTML hand-coding and of moving files with FTP clients.
  • ...44 more annotations...
  • out of those manifold ways of writing and showing have emerged new practices for telling stories.
  • Web 2.0 platforms are often structured to be organized around people rather than the traditional computer hierarchies of directory trees.
    • loisramirez
      loisramirez on 17 Oct 11
       
      I think this is a very important feature, since the web is not as static anymore and more people friendly, we as users feel more encourage to collaborate and create our own content.
  • Websites designed in the 1990s and later offered few connecting points for individuals, generally speaking, other than perhaps a guestbook or a link to an e-mail address. But Web 2.0 tools are built to combine microcontent from different users with a shared interest:
  • If readers closely examine a Web 2.0 project, they will find that it is often touched by multiple people, whether in the content creation or via associated comments or discussion areas. If they participate actively, by contributing content, we have what many call social media.
  • But Web 2.0's lowered bar to content creation, combined with increased social connectivity, ramps up the ease and number of such conversations, which are able to extend outside the bounds of a single environment.
    • Barbara Lindsey
      Barbara Lindsey on 12 Mar 10
       
      Does the definition of Web 2.0 given in this article help you to better understand your experiences thus far in this course?
  • Another influential factor of Web 2.0 is findability: the use of comprehensive search tools that help story creators (and readers) quickly locate related micocontent with just a few keywords typed into a search field.
  • Social bookmarking and content tagging
  • the "art of conveying events in words, images, and sounds often by improvisation or embellishment."4 Annette Simmons sees the storyteller’s empathy and sensory detail as crucial to "the unique capability to tap into a complex situation we have all experienced and which we all recognize."5
    • loisramirez
      loisramirez on 17 Oct 11
       
      I also agree with this comment, something as simple as a keyword can trigger a memory and bring back information that we have learned.
  • Web 2.0 stories are often broader: they can represent history, fantasy, a presentation, a puzzle, a message, or something that blurs the boundaries of reality and fiction.
  • On one level, web users experienced a great deal of digital narratives created in non-web venues but published in HTML, such as embedded audio clips, streaming video, and animation through the Flash plug-in. On another level, they experienced stories using web pages as hypertext lexia, chunks of content connected by hyperlinks.
  • While HTML narratives continued to be produced, digital storytelling by video also began, drawing on groundbreaking video projects from the 1970s.
  • By the time of the emergence of blogs and YouTube as cultural media outlets, Tim O'Reilly's naming of Web 2.0, and the advent of social media, storytelling with digital tools had been at work for nearly a generation.
  • Starting from our definitions, we should expect Web 2.0 storytelling to consist of Web 2.0 practices.
  • In each of these cases, the relative ease of creating web content enabled social connections around and to story materials.
  • Web 2.0 creators have many options about the paths to set before their users. Web 2.0 storytelling can be fully hypertextual in its multilinearity. At any time, the audience can go out of the bounds of the story to research information (e.g., checking names in Google searches or looking for background information in Wikipedia).
  • User-generated content is a key element of Web 2.0 and can often enter into these stories. A reader can add content into story platforms directly: editing a wiki page, commenting on a post, replying in a Twitter feed, posting a video response in YouTube. Those interactions fold into the experience of the overall story from the perspective of subsequent readers.
  • On a less complex level, consider the 9th Btn Y & L War Diaries blog project, which posts diary entries from a World War I veteran. A June 2008 post (http://yldiaries.blogspot.com/2008_06_01_archive.html) contains a full wartime document, but the set of comments from others (seven, as of this writing) offer foreshadowing, explication of terms, and context.
    • Barbara Lindsey
      Barbara Lindsey on 12 Mar 10
       
      Consider how these new media create rich dissertation and research opportunities.
  • As with the rest of Web 2.0, it is up to readers and viewers to analyze and interpret such content and usually to do so collaboratively.
  • At times, this distributed art form can range beyond the immediate control of a creator.
  • Creators can stage content from different sites.
  • Other forms leverage the Web 2.0 strategies of aggregating large amounts of microcontent and creatively selecting patterns out of an almost unfathomable volume of information.
  • The Twitter content form (140-character microstories) permits stories to be told in serialized portions spread over time.
    • loisramirez
      loisramirez on 17 Oct 11
       
      It is also a great way to practice not only creative writing but due to the 140 character limitation; this is a new challenge for a writer, how to say a lot in a just a few words.
  • It also poses several challenges: to what extent can we fragment (or ‘microchunk,’ in the latest parlance) literature before it becomes incoherent? How many media can literature be forced into—if, indeed, there is any limit?"
  • Facebook application that remixes photos drawn from Flickr (based on tags) with a set of texts that generate a dynamic graphic novel.
  • movie trailer recuts
  • At a different—perhaps meta—level, the boundaries of Web 2.0 stories are not necessarily clear. A story's boundaries are clear when it is self-contained, say in a DVD or XBox360 game. But can we know for sure that all the followers of a story's Twitter feed, for example, are people who are not involved directly in the project? Turning this question around, how do we know that we've taken the right measure of just how far a story goes, when we could be missing one character's blog or a setting description carefully maintained by the author on Wikipedia?
  • The Beast was described by its developer, Sean Stewart: “We would tell a story that was not bound by communication platform: it would come at you over the web, by email, via fax and phone and billboard and TV and newspaper, SMS and skywriting and smoke signals too if we could figure out how.
  • instead of telling a story, we would present the evidence of that story, and let the players tell it to themselves.”15
    • Barbara Lindsey
      Barbara Lindsey on 12 Mar 10
       
      How might your students who come to your courses with these kinds of experiences impact the way you present your content?
  • In addition, the project served as an illustrative example of the fact that no one can know about all of the possible web tools that are available.
    • Barbara Lindsey
      Barbara Lindsey on 12 Mar 10
       
      How might we address this conundrum?
  • web video storytelling, primarily through YouTube
  • Web 2.0 storytelling offers two main applications for colleges and universities: as composition platform and as curricular object.
  • Students can use blogs as character studies.
  • The reader is driven to read more, not only within the rest of that post but also across the other sites of the story: the archive of posts so far, the MySpace page, the resources copied and pointed to. Perhaps the reader ranges beyond the site, to the rest of the research world—maybe he or she even composes a response in some Web 2.0 venue.
  • Yet the blog form, which accentuates this narrative, is accessible to anyone with a browser. Examples like Project 1968 offer ready models for aspiring writers to learn from. Even though the purpose of Project 1968 is not immediately tied to a class, it is a fine example for all sorts of curricular instances, from history to political science, creative writing to gender studies, sociology to economics.
  • it’s worth remembering that using Web 2.0 storytelling is partly a matter of scale. Some projects can be Web 2.0 stories, while others integrate Web 2.0 storytelling practices.
  • Lecturers are familiar with telling stories as examples, as a way to get a subject across. They end discussions with a challenging question and create characters to embody parts of content (political actors, scientists, composite types). Imagine applying those habits to a class Twitter feed or Facebook group.
  • For narrative studies, Web 2.0 stories offer an unusual blend of formal features, from the blurry boundaries around each story to questions of chronology.
  • An epistolary novel, trial documents, a lab experiment, or a soldier's diaries—for example, WW1: Experiences of an English Soldier (http://wwar1.blogspot.com/)—come to life in this new format.
  • epigrams are well suited to being republished or published by microblogging tools, which focus the reader’s attention on these compressed phases. An example is the posting of Oscar Wilde’s Phrases and Philosophies for the Use of the Young (1894), on Twitter (http://twitter.com/oscarwilde). Other compressed forms of writing can be microblogged also, such as Félix Fénéon's Novels in Three Lines (1906), also on Twitter (http://twitter.com/novelsin3lines). As Dan Visel observed of the latter project: “Fénéon . . . was secretly a master of miniaturized text. . . . Fénéon's hypercompression lends itself to Twitter. In a book, these pieces don't quite have space to breathe; they're crowded by each other, and it's more difficult for the reader to savor them individually. As Twitter posts, they're perfectly self-contained, as they would have been when they appeared as feuilleton.”21
  • A publicly shared Web 2.0 story, created by students for a class, afterward becomes something that other students can explore. Put another way, this learning tool can produce materials that subsequently will be available as learning objects.
  • We expect to see new forms develop from older ones as this narrative world grows—even e-mail might become a new storytelling tool.22 Moreover, these storytelling strategies could be supplanted completely by some semantic platform currently under development. Large-scale gaming might become a more popular engine for content creation. And mobile devices could make microcontent the preferred way to experience digital stories.
  • perhaps the best approach for educators is simply to give Web 2.0 storytelling a try and see what happens. We invite you to jump down the rabbit hole. Add a photo to Flickr and use that as a writing prompt. Flesh out a character in Twitter. Follow a drama unfolding on YouTube. See how a wiki supports the gradual development of a setting. Then share with all of us what you have learned about this new way of telling, and listening to, stories.
  • The interwoven characters, relationships, settings, and scenes that result are the stuff of stories, regardless of how closely mapped onto reality they might be; this also distinguishes a Web 2.0 story from other blogging forms, such as political or project sites (except as satire or criticism!).
  • in sharp contrast to the singular flow of digital storytelling. In the latter form, authors create linear narratives, bound to the clear, unitary, and unidirectional timeline of the video format and the traditional story arc. Web 2.0 narratives can follow that timeline, and podcasts in particular must do so. But they can also link in multiple directions.
  • Barbara Lindsey on 12 Mar 10
     
    By Bryan Alexander and Alan Levine
Barbara Lindsey

Suren Ramasubbu: Helping Students Learn How to Enjoy Learning: An Interview With Travis... - 0 views

www.huffingtonpost.com/...tudents-learn-ho_b_559924.html

ischool travisallen huffingtonpost interview

shared by Barbara Lindsey on 17 May 10 - Cached
  • managing a 15-member student team who run seminars, market the initiative, develop applications, and maintain a social network of schools and students. Travis has created team management sites, runs a popular blog, helped hundreds of students learn, and created YouTube videos inspiring tens of thousands of students and educators.
  • Barbara Lindsey on 17 May 10
     
    Huffington Post interview with Travis Allen of the iSchool Initiative--after our class interview him!
Barbara Lindsey

Visualize your GPS tracks with Breadcrumbs | Google Earth Blog - 0 views

www.gearthblog.com/...your_gps_tracks_with_brea.html

gps socialannotation 3d trail video googleearth googelmaps

shared by Barbara Lindsey on 02 Jan 11 - No Cached
  • Our users can log their ski trip, hiking trip or sightseeing trip, upload it to Breadcrumbs with their photos and videos, and send it to all their friends, who can relive the adventure in 3D. And this is only the start, as we plan to provide our users with a platform to not only edit and maintain tracks, but also to find new places to explore and interact within a social network.
  • Breadcrumbs is the first web application of its kind, where users can manage GPS tracks, photos and videos in one place - it can be thought of as 'Flickr for GPS tracks'.
  • The key features of Breadcrumbs include:Relive your adventure: Breadcrumbs brings together photos, videos and GPS tracks in one quick and easy process and our 3D playback function brings the track alive. Edit and manage: Breadcrumbs comes with a suite of tools which let users edit and manage their GPS tracks, photos and videos. These include:- Automated geotagging of photos.- Track editing tool to correct GPS points.- Add information to your adventure to help tell the story, such as show where you ate your lunch or spotted some wildlife.- Organize: Breadcrumbs offers a rich set of tools to help users to manage adventures.- Share: Breadcrumbs makes it easy to share adventures, with options including a public page for each track and direct integration with Facebook.
  • ...2 more annotations...
  • Our utilization and heavy integration with the Google Earth plugin is also a big bonus for the user. Garmin allows you to look at your data in Google Maps and indeed Google Earth. However, Breadcrumbs builds on this as we have built a track playback feature on top of the plugin which allows you to hit play and replay your trip step by step. It's like watching a movie of your day out! This really does bring the users' GPS data to life especially when sharing with friends and family.
  • We are already integrated with one smartphone application allowing the user to push their tracks directly to Breadcrumbs from their phone.
Barbara Lindsey

Educational Leadership:Teaching Screenagers:Publishers, Participants All - 0 views

www.ascd.org/...lishers,-Participants-All.aspx

privacy onlinerights onlinesafety publishing2.0 digital footprint willrichardson

shared by Barbara Lindsey on 14 Feb 11 - No Cached
  • Building and maintaining a compelling, creative, connected, positive online presence is a literacy for the times, one that we teachers must model and help students develop.
  • This is a world in which public is the new default. Thought leader Michael Schrage (2010) notes that "the traditional two-page résumé has been turned into a 'personal productivity portal' that empowers prospective employers to quite literally interact with their candidate's work."
  • In addition to teaching safe publishing habits, we must also teach connection, the idea that the "publish" button is no longer the end of the process but a midpoint, an opportunity to learn from those who take the time to read and respond. In essence, we want students to talk to strangers, to have the wherewithal not only to discern good strangers from bad ones, but also to appreciate the huge learning opportunity that online strangers represent.
  • ...1 more annotation...
  • At the end of the day, high school graduates need a clear sense of both the potentials and the pitfalls of interacting online. They should be able to create their own connections in safe, effective, and ethical ways. For schools, this means far more than just doing an information literacy unit. Rather, we must envision a K–12 curriculum that seamlessly integrates these new skills and literacies in age-appropriate ways and gradually moves students into more public interactions online. Not doing so would be akin to handing teenagers the keys to the car without having taught them to drive.
1 - 12 of 12
Showing 20▼ items per page