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Barbara Lindsey

Arounder: France: Paris: View Alexandre III bridge - 0 views

paris.arounder.com/...FR000009882.html

googlemaps maps actfl09 mafla09 paris tour 360

shared by Barbara Lindsey on 20 Jul 09 - Cached
  • Barbara Lindsey on 20 Jul 09
     
    Paris: View Alexandre III bridge"> Arounder: France: Paris: View Alexandre III bridge #aHeaderMin {border-bottom:1px solid #663399; color:#663399; background-color:#3c3c3c;} #aHeader {border-bottom:1px solid #663399;} #aHeader #aHeaderRight a:hover, #aHeader #aHeaderRight a:focus, #aHeader #aHeaderRight a:active, #aHeader #aHeaderRight a.selected {color:#fff; background-color:#663399;} #aHeader #acVariable li a {color:#fff; border-bottom:1px solid #fff; background:url(http://media.vrway.com/00/arounder/css/663399/tab_fullscreen_no_sel.gif) no-repeat;} #aHeader #acVariable li a:hover, #aHeader #acVariable li a:focus, #aHeader #acVariable li a:active, #aHeader #acVariable li a.selected {background:url(http://media.vrway.com/00/arounder/css/663399/tab_fullscreen.gif) no-repeat; border-bottom:1px solid #663399;} #aHeaderMin a {color:#663399;} #aHeaderMin a:hover, #aHeaderMin a:focus, #aHeaderMin a:active, #aHeaderMin a.selected {color:#fff; background-color:#663399;} #aHeader #cHelp a {border:1px solid #a3a3a3;} #aHeader #cHelp a:hover, #aHeader #cHelp a:focus, #aHeader #cHelp a:active {border:1px solid #663399;} #aText h2 {color:#663399;} #aDescription a:hover {color:#663399;} .sThumb { background: no-repeat center center; width: 100px; height: 80px; } #sSpacer1 { border-bottom:1px solid #fff; }
Barbara Lindsey

The Code of Best Practices in Fair Use for Media Literacy Education -- Publications --... - 0 views

www.centerforsocialmedia.org/...e_for_media_literacy_education

fairuse copyright principles

shared by Barbara Lindsey on 18 Mar 10 - Cached
  • PRINCIPLES
  • EMPLOYING COPYRIGHTED MATERIAL IN MEDIA LITERACY LESSONS
  • Common instructional activities include comparison-contrast analysis, deconstruction (close analysis) of the form and content of a message, illustration of key points, and examination of the historical, economic, political, or social contexts in which a particular message was produced and is received.
  • ...11 more annotations...
  • EMPLOYING COPYRIGHTED MATERIAL IN PREPARING CURRICULUM MATERIALS
  • These materials may include samples of contemporary mass media and popular culture as well as older media texts that provide historical or cultural context.
  • SHARING MEDIA LITERACY CURRICULUM MATERIALS
  • Educators using concepts and techniques of media literacy should be able to share effective examples of teaching about media and meaning with one another, including lessons and resource materials
  • STUDENT USE OF COPYRIGHTED MATERIALS IN THEIR OWN ACADEMIC AND CREATIVE WORK
  • Students include excerpts from copyrighted material in their own creative work for many purposes, including for comment and criticism, for illustration, to stimulate public discussion, or in incidental or accidental ways (for example, when they make a video capturing a scene from everyday life where copyrighted music is playing).
  • Because media literacy education cannot thrive unless learners themselves have the opportunity to learn about how media functions at the most practical level, educators using concepts and techniques of media literacy should be free to enable learners to incorporate, modify, and re-present existing media objects in their own classroom work. Media production can foster and deepen awareness of the constructed nature of all media, one of the key concepts of media literacy. The basis for fair use here is embedded in good pedagogy.
  • DEVELOPING AUDIENCES FOR STUDENT WORK
  • Students who are expected to behave responsibly as media creators and who are encouraged to reach other people outside the classroom with their work learn most deeply.
  • In some cases, widespread distribution of students’ work (via the Internet, for example) is appropriate. If student work that incorporates, modifies, and re-presents existing media content meets the transformativeness standard, it can be distributed to wide audiences under the doctrine of fair use.
  • educators should take the opportunity to model the real-world permissions process, with explicit emphasis not only on how that process works, but also on how it affects media making.
Barbara Lindsey

Modeling Social Media in Groups, Communities, and Networks - 0 views

www.tesl-ej.org/...ej51int

socialmedia cop communitiesofpractice networking

shared by Barbara Lindsey on 06 Dec 10 - No Cached
  • the evolution of what was initially a group into a community of practice is illustrated, as well as how social media enables one CoP to interact with others to become part of a distributed learning network. Participants in the networked communities continually leverage each other’s professional development, and what is modeled and practiced in transactions there is applied later in their teaching practices
  • Teachers can be shown how to use social media, but unless they use it themselves they are unlikely to change their practices. There is evidence that teachers trained in programs where their instructors used social media (modeled it) are more comfortable with technology than if their instructors did not themselves use these tools. This article suggests how teachers can interact with numerous communities of practice and distributed learning networks where other participants are modeling to and learning from one another optimal ways of using social media in teaching. This strongly suggests that teachers must be trained not only in the use of social media, but through its use.
    • Barbara Lindsey
      Barbara Lindsey on 06 Dec 10
       
      "Through its use" is key here!
  • “To teach is to model and demonstrate. To learn is to practice and reflect.”
  • ...24 more annotations...
  • Networks are ideal as enhancements for all four of these essential activities of lifelong learners, and they enable us to model, demonstrate, practice, and reflect constantly and effectively.
  • “teachers who practice autonomy in their own professional development formulate heuristics for harvesting knowledge within their personal learning spaces, and thus stand a better chance of inculcating the desired behaviors in their students, thus increasing the likelihood of producing potentially autonomous and lifelong learners. But it is a percolative process.
  • The wiki allowed anyone (anyone could write on it, not just Webheads) to leave an email address if they needed an invitation, and those who had spare invitations would give one to someone in need. The system worked to organize a quick and robust Webheads Wave, a sandbox for teachers to try out the tool and to model and demonstrate and practice with one another.
  • Networks provide the framework for this to happen.
  • Pedagogy
  • Networking
  • Literacy
  • Paradigm shift results when many people in a community or network follow the same process of seeing things modeled and demonstrated for one another in such a way that after considered reflection and weighing of the old and new ways of addressing a problem, they gradually alter their practice.
    • Barbara Lindsey
      Barbara Lindsey on 06 Dec 10
       
      ACOT showed this in the late 80's with their ten year study.  http://imet.csus.edu/imet1/baeza/PDF%20Files/Upload/10yr.pdf
  • Heuristics
  • hose with knowledge and those seeking it treat each other equally, often reversing roles frequently as seekers and providers of knowledge and content.
  • multiliteracies approaches
  • When the Writing for Webheads group of students and teachers formed in 1998, participants were distrustful of sending their pictures to strangers on the Internet, and even to reveal their real names.
  • Photographs and voice/webcam communications enable group members to see the human behind the text message and enhance bonds leading to a sense of community
  • Scaffolding one another’s practice by modeling to one another and answering each other’s questions
  • the evolution of social media has enabled the Webheads CoP to interact with others to become part of a much wider distributed learning network.
  • Siemens has long espoused the notion of connectivism, famously summarized as “The pipe is more important than the content within the pipe.” (Siemens, 2004, n.p.). Here, Siemens means that it is more important to nurture a system of connections between knowledgeable people (the pipe) than to be concerned with what these knowledgeable people know (the content within the pipe) since this content can be directed as needed to anyone with appropriate connections within the pipe.
  • Communities and networks help us to aggregate, filter, and assimilate this information into some kind of knowledge structure and then disseminate it throughout the community or network.
  • distributed learning networks (DLN’s), or personal or professional learning networks (PLNs), or personal learning environments (PLE’s)–all provide direct (and indirect) contact with many people in one’s network, each possessing a reservoir of knowledge which contributes to the entire pool of knowledge residing in the network. This can be accessed through listservs or sometimes almost instantaneously through Twitter or RSS feeds, or Skype, or instant messaging. Therefore the knowledge possessed by any individual, or node in the network, is the sum total of all aggregated knowledge within that network. It is to this that we ascribe the incredible power inherent in distributed learning networks which often comprise to some extent communities of practice.
  • Wenger, McDermott, and Snyder (2002, p. 6) promote the CoP model as an anecdote to the fact, as he puts it, that “increasing complexity of knowledge requires greater … collaboration; whereas … the half life of knowledge is getting shorter.”
  • the skill of leveraging networks is increasingly important in the 21st century in plumbing and aggregating knowledge when that knowledge base is forever changing at an increasingly accelerated pace.
  • or appropriate use of online social networks to be taught in schools, teachers themselves must be familiar with their impact on learning. One problem is that teacher-trainers without sufficient experience with technology and who are rooted in old-school methodologies are simply not modeling new age learning behaviors for their trainees by showing them how to reach out to networks.
  • research indicates that teachers don’t necessarily activate the knowledge they are exposed to in training curricula. The example he gave was on reverting to traditional methods rather than utilizing knowledge about communicative language teaching (Richards, 2009: 4), but the same applies to knowledge of technology.
  • In order for training in pedagogical affordances of networking to take hold it is crucial that teachers be trained not only in social media, but through its use. Those who use social media in their professional networking find this self-evident, but there is at least annecdotal evidence for the need for modeling by mentors.
  • teachers need to be shown the connections between their use of social media in their personal and professional lives. Glogowski and Sessums pointed out in their presentation at the WiAOC 2007 conference their surprise that student teachers who were already using technology with online acquaintances in their after-hours social networking were not carrying this over into their professional teaching practices.
    • Barbara Lindsey
      Barbara Lindsey on 06 Dec 10
       
      The same holds true for our students.
Barbara Lindsey

Half of U.S. Adults Use Social Media - 0 views

readwriteweb.com/...us_adults_use_social_media.php

access adults equity networking social us

shared by Barbara Lindsey on 09 Aug 08 - Cached
  • Half of U.S. adults use social media.
  • Combined
  • n the 18-34 year-old demographic
  • ...8 more annotations...
  • t's worth noting that in this particular study "social media" includes text messaging. Combined with blogging and social networking, these three technologies are used by 50% of U.S. adults for communication purposes.
  • 85% of rely on one of the three platforms to stay in touch with others.
  • Although these numbers look promising for our favorite genre, social media, they should probably be taken with a grain of salt. While we do believe that text messaging is an important method of communication, it doesn't quite fit with what the standard definition of social media is: blogging, social networking sites, and other web properties that engage collective groups of people to drive their content. We would like to see how the numbers really break down among the three "social media" activities they measured, but that data was not immediately available.
  • Side Note: Personally, I find the terminology "the great unwashed (masses)" a little demeaning. The fact is that those at the lower end of the technology-use spectrum don't use things like text messaging and the internet as much because they are usually economically disadvantaged - an unfortunate condition that has numerous causes including everything from poor educational resources to lack of job opportunities in their geographic region. Lumping this lower-income group into one "great unwashed" group was an unnecessarily cruel way to address those not participating in the social media revolution.
  • 1 out of 10 U.S. adults now publish blogs (up from 5% last year) 1 out of 5 18-34-year olds publish blogs (up from 10% last year) 22% of U.S. adults use IM (up from 9% last year) 21% of 18-34-year olds use IM (up from 14% last year)
  • I think now it's taking off because social networks are taking off...People may have been doing it before, but may not have realized it. Now they're recognizing it for what it is."
  • demographic
  • In exploratory qualitative research, we have undertaken indicates the consumer might take a broader view of what social media might mean. For example, it could be taken by consumers to mean any digital form of personal communication that helps enable peer collaboration and sharing. This softer, less-structured definition is possibly useful in determining possible future growth areas of personal social P2P media from a consumer-centric POV."
Barbara Lindsey

FRONTLINE: digital nation: reactions to digital nation: henry jenkins | PBS - 0 views

www.pbs.org/...ital-nation-henry-jenkins.html

frontline digitalnation henry_jenkins discussion pbs

shared by Barbara Lindsey on 04 Feb 10 - Cached
  • I have found the Digital Nation website to be an extraordinary resource which I used repeatedly in my teaching last semester, drawing in many different segments to stimulate discussion, to allow students to hear more directly the point of view and see the personalities of writers we were engaging with through our readings. What works for me about the website is that it is multi-vocal, allowing many points of view to be expressed on more or less equal footing, encouraging reflection as people make their own decisions about what to watch and how to juxtapose the pieces. I doubt any two readers took the same path through this material or any two teachers used the resources the website provides in precisely the same ways. Y
  • The website allows us to ask our own questions, while the documentary tells us what to think.
  • For example, I might use the documentary to talk about the primacy effect -- the degree to which what comes first in a linear media experience sets the horizon of expectations and frames how we understand the material which follows. It strikes me that we go more than 20 minutes into the film before we hear what might be considered an authoritative voice offering a sympathetic comment about the value of digital media and that initial critical framing of media as a social problem gets reasserted multiple times in the course of the documentary. This surely encourages greater skepticism when alternative viewpoints get expressed later.
  • ...8 more annotations...
  • We might talk about the ways that voice-over narrators carry much greater weight in our response to documentaries than the subjects they are drawing upon
  • We might talk about conversion narratives such as the way Rushkoff deploys his own shifts in thinking to add greater credibility to his current position in the classic "once was lost but now am found" tradition of religious witnessing.
  • We might talk about notions of juxtaposition -- the ways that each positive claim is followed by a critical perspective, while for the most part, people who are more sympathetic to new media practices are not allowed to interject or challenge claims made in the more critical segments.
  • As someone who taught at MIT for 20 years, I scarcely recognized the place depicted on the documentary -- I certainly would have no trouble creating a documentary which arrived at the exact opposite conclusion about what was going on when those students used their computers in the classroom.
  • Critics of new media are allowed to make unqualified statements, while advocates are shown to be more equivocating. The result of such practices over time has served to polarize the conversation -- so we are either for or against digital media, it is either good or bad, rather than allowing a meaningful discussion of its potentials and risks, its benefits and problems, which might allow for us over time to find common ground and act meaningfully in response to a situation none of us fully understand.
  • I am struck by how consistently the documentary connects new media practices to hot button issues within the demographic which is most apt to watch PBS -- framing digital media in opposition to books, say, or linking it to the military or to corporations.
  • You had a chance to do so much more than this -- creating a context where serious thinkers with a range of different perspectives can talk through their differences and try to arrive at a more nuanced understanding of a complex situation. I believe the website did this. I believe an online conversation may do this. I don't think the documentary does. What does this tell us about television as a vehicle for serious reflection? What does this suggest about the value of the kinds of social spaces for open ended inquiry and discussion digital media at its best can provide? For example, what does it suggest about the need of television to compress for time and the potential of the web to offer unlimited material?
  • It is nonsensical to make a judgement about whether the web is good or bad. The web is. How do we use it in a way which maximizes the benefits and lowers the risks?
Barbara Lindsey

EC&I 831 - 1 views

eci831.wikispaces.com

opencourseware openeducation open education education2.0 couros

shared by Barbara Lindsey on 20 Feb 10 - No Cached
  • The goals of this course follow. Participants will: better understand the historical role technology and media have played in educational & social change; become knowledgeable of social learning tools & FLOSS (Free/Libre and Open Source Software) as tools for teaching, facilitating learning, & designing educational environments; become familiar with the wealth of open educational resources (OERs), learning-related content, & media available for teaching & learning; become knowledgeable of relevant social learning theories and philosophies that respond to learning in the digital age; better understand the many social, educational, political, cultural, and administrative issues often associated with technology & media in education and society; become critical consumers and producers of digital media and information; and, build sustainable, personal learning environments and networks.
  • A significant portion of the course learning will happen outside of the scheduled, synchronous sessions. Participants will gain experience in social learning processes such as: writing reflective blog posts, commenting on participant blogs, reading and commenting on educational blogs from outside of the course, microblogging, reading and exploring other educational technology and learning-focused media, exploring social learning tools, and creating educational media.
  • Barbara Lindsey on 20 Feb 10
     
    Couros Course on Social Media & Open Education "Open, Connected, Social" this course is open to credit and not-for-credit' students and features synchronous discussions via Elluminate and asynchronous work via microblogging, blogging, and the creation of digital content.
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

The Newest Media and a Principled Approach for Integrating Technology Into Instruction ... - 0 views

campustechnology.com/...chnology-into-instruction.aspx

assessmentforlearning assessment technology

shared by Barbara Lindsey on 04 Oct 10 - Cached
  • Given the evolution of new media, how can educators determine what to use, when, and why? Hence, our guiding question is, how should educators assess the effectiveness of new media using performance-based measures—not relying only on the often-used survey of student satisfaction?
  • One strategy we employ applies equally to any new approach in teaching, whether it employs “new media” or not. That strategy is to apply some of the best current knowledge from cognitive and learning sciences to assess proposed teaching innovation.
  • What is the educational need, problem, or gap for which use of new media might potentially enhance learning?
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

Open university: Joi Ito plans a radical reinvention of MIT's Media Lab (Wired UK) - 0 views

www.wired.co.uk/...open-university

openeducation openaccess highered bwct mitmedialab MIT JoiIto

shared by Barbara Lindsey on 21 Nov 12 - No Cached
  • They have a maker space in a church, a place where the kids can learn how to build a computer, a bike shop where they can learn how to do repairs. The kid who runs this place, Jeff Sturges, is awesome.We're sending a bunch of Media Lab people to Detroit to work with local innovators already doing stuff on the ground."
  • in which any bright talent anywhere, academically qualified or not, can be part of the world's leading "antidisciplinary" research lab. "Opening up the lab is more about expanding our reach and creating our network," explains Ito, appointed director in April 2011.
  • as Ito sees it, the formal channels of academia today inhibit progress. "In the old days, being relevant was writing academic papers. Today, if people can't find you on the internet, if they're not talking about you in Rwanda, you're irrelevant. That's the worst thing in the world for any researcher. The people inventing things might be in Kenya, and they go to the internet and search. Funders do the same thing. The old, traditional academic channel is not a good channel for attracting attention, funding, people, or preventing other people from competing with you.
  • ...10 more annotations...
  • You can't actually tell people to think for themselves, or be creative. You have to work with them and have them learn it themselves."
  • "Being open, you're much less likely to have someone competitive emerge and you're also much more likely to find somebody who wants to come to work with you. Innovation is happening everywhere -- not just in the Ivy League schools. And that's why we're working with you guys [at Wired] too -- in the old days, academics didn't want to be in popular magazines. Openness is a survival trait."
  • It was, according to a 1984 briefing document by Negroponte, "designed to be a place where people of dramatically different backgrounds can simultaneously use and invent new media, and where the computer itself is seen as a medium -- part of a communications network of people and machines -- not just an object in front of which one sits."
  • As Ito sees it, the lab's mission "is to come up with ideas that would never be able to occur anywhere else because most places are incremental, directed and disciplinary".
  • There are lots of kids who are not happy with this massive consumerism, this unsustainable growth, but who have really smart science and technology values. That's a type of person we can draw into what I think will become a movement."
  • "We aim to capture serendipity. You don't get lucky if you plan everything -- and you don't get serendipity unless you have peripheral vision and creativity.
  • Our funding model allows our students to do anything they want without asking permission. It's like venture capital: we don't expect every experiment to succeed -- in fact, a lot are failures. But that's great -- failure is another word for discovery. We're very much against incrementalism -- we look for unexplored spaces, and our key metrics for defining a good project are uniqueness, impact and magic."
  • Ito set out some of his key principles. These included: "Encourage rebellion instead of compliance"; "Practice instead of theory"; " Constant learning instead of education"; "Compass over map". "The key principles include disobedience -- no one ever won a Nobel prize by doing as they're told," he explains later. "And it's about resilience versus strength -- you don't try to resist failure, you allow failure and bounce back. And compass over map is important -- you need to know where you're going, but the cost of planning often exceeds the cost of actually trying. The maps you have are often wrong. These principles affect and apply to just about any organisation."
  • In the old days, you needed hundreds of millions of dollars and armies of people to do anything that mattered. Today a couple of kids using open-source software, a generic PC and the internet can create a Google, a Yahoo! and a Facebook in their dorm room, and plug it in and it's working even before they've raised money. That takes all the innovation from the centre and pushes it to the edges -- into the little labs inside the Media Lab; inside dorm rooms; even inside terrorist cells. Suddenly the world is out of control -- the people innovating, disrupting, creating these tools, they're not scholars. They don't care about disciplines. They're antidisciplinary."
  • So when Ito was appointed, Negroponte wanted the press release headlined: "University dropout named director of Media Lab". "But," he says with raised eyebrows, "the fact that he didn't have a degree was buried near the last paragraph. That's the good Peter Thiel -- if you do drop out and do something creative, more power to you."
Barbara Lindsey

Craig Watkins: What Schools Are Really Blocking When They Block Social Media - 0 views

www.huffingtonpost.com/...ls-are-really-b_b_1245209.html

socialmedia schools block critique huffpost Glastonbury

shared by Barbara Lindsey on 05 Feb 12 - No Cached
  • By blocking social media schools are also blocking the opportunity: 1)    to teach students about the inventive and powerful ways communities around the world are using social media 2)    for students and teachers to experience the educational potential of social media together 3)    for students to distribute their work with the larger world 4)    for students to reimagine their creative and civic identities in the age of networked media
Barbara Lindsey

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

www.educause.edu/...6069

learning students styles

shared by Barbara Lindsey on 30 Oct 07 - Cached
  • Research indicates that each of these media, when designed for education, fosters particular types of interactions that enable—and undercut—various learning styles.
    • Barbara Lindsey
      Barbara Lindsey on 30 Oct 07
       
      How much do we know about our students' learning styles? How do we know this?
  • Over the next decade, three complementary interfaces will shape how people learn
  • The familiar "world to the desktop." Provides access to distant experts and archives and enables collaborations, mentoring relationships, and virtual communities of practice. This interface is evolving through initiatives such as Internet2. "Alice in Wonderland" multiuser virtual environments (MUVEs). Participants' avatars (self-created digital characters) interact with computer-based agents and digital artifacts in virtual contexts. The initial stages of studies on shared virtual environments are characterized by advances in Internet games and work in virtual reality. Ubiquitous computing. Mobile wireless devices infuse virtual resources as we move through the real world. The early stages of "augmented reality" interfaces are characterized by research on the role of "smart objects" and "intelligent contexts" in learning and doing.
  • ...48 more annotations...
  • This immersion in virtual environments and augmented realities shapes participants' learning styles beyond what using sophisticated computers and telecommunications has fostered thus far, with multiple implications for higher education.
  • Beyond actional and symbolic immersion, advances in interface technology are now creating virtual environments and augmented realities that induce a psychological sense of sensory and physical immersion.
  • The research on virtual reality Salzman and I conducted on frames of reference found that the exocentric and the egocentric FORs have different strengths for learning. Our studies established that learning ideally involves a "bicentric" perspective alternating between egocentric and exocentric FORs.
    • Barbara Lindsey
      Barbara Lindsey on 10 Nov 08
       
      Could we make the argument that this is one of the main goals of language programs?
  • But what is so special about the egocentric perspectives and situated learning now enabled by emerging media? After all, each of us lives with an egocentric perspective in the real world and has many opportunities for situated learning without using technology. One attribute that makes mediated immersion different and powerful is the ability to access information resources and psychosocial community distributed across distance and time, broadening and deepening experience. A second important attribute is the ability to create interactions and activities in mediated experience not possible in the real world, such as teleporting within a virtual environment, enabling a distant person to see a real-time image of your local environment, or interacting with a (simulated) chemical spill in a busy public setting. Both of these attributes are actualized in the Alice-in-Wonderland interface.
  • Notion of place is layered/blended/multiple; mobility and nomadicity prevalent among dispersed, fragmented, fluctuating habitats (for example, coffeehouses near campus)
  • Guided social constructivism and situated learning as major forms of pedagogy
  • he defining quality of a learning community is that there is a culture of learning, in which everyone is involved in a collective effort of understanding. There are four characteristics that such a culture must have: (1) diversity of expertise among its members, who are valued for their contributions and given support to develop, (2) a shared objective of continually advancing the collective knowledge and skills, (3) an emphasis on learning how to learn, and (4) mechanisms for sharing what is learned. If a learning community is presented with a problem, then the learning community can bring its collective knowledge to bear on the problem. It is not necessary that each member assimilate everything that the community knows, but each should know who within the community has relevant expertise to address any problem. This is a radical departure from the traditional view of schooling, with its emphasis on individual knowledge and performance, and the expectation that students will acquire the same body of knowledge at the same time.26
  • Peer-developed and peer-rated forms of assessment complement faculty grading, which is often based on individual accomplishment in a team performance context  Assessments provide formative feedback on instructional effectiveness
  • Multipurpose habitats—creating layered/blended/personalizable places rather than specialized locations (such as computer labs)
  • o the extent that some of these ideas about neomillennial learning styles are accurate, campuses that make strategic investments in physical plant, technical infrastructure, and professional development along the dimensions suggested will gain a considerable competitive advantage in both recruiting top students and teaching them effectively.
  • Net Generation learning styles stem primarily from the world-to-the-desktop interface; however, the growing prevalence of interfaces to virtual environments and augmented realities is beginning to foster so-called neomillennial learning styles in users of all ages.
    • Barbara Lindsey
      Barbara Lindsey on 30 Oct 07
       
      What is the timeline?
  • Immersion is the subjective impression that one is participating in a comprehensive, realistic experience.
  • Inducing a participant's symbolic immersion involves triggering powerful semantic associations via the content of an experience.
    • Barbara Lindsey
      Barbara Lindsey on 30 Oct 07
       
      Felice's Utopian City
  • The capability of computer interfaces to foster psychological immersion enables technology-intensive educational experiences that draw on a powerful pedagogy: situated learning.
  • The major schools of thought cited are behaviorist theories of learning (presentational instruction), cognitivist theories of learning (tutoring and guided learning by doing), and situated theories of learning (mentoring and apprenticeships in communities of practice).
    • Barbara Lindsey
      Barbara Lindsey on 30 Oct 07
       
      What kinds of learning environments do you prefer and what kinds do you create for your students?
  • Situated learning requires authentic contexts, activities, and assessment coupled with guidance from expert modeling, mentoring, and "legitimate peripheral participation."8 As an example of legitimate peripheral participation, graduate students work within the laboratories of expert researchers, who model the practice of scholarship. These students interact with experts in research as well as with other members of the research team who understand the complex processes of scholarship to varying degrees. While in these laboratories, students gradually move from novice researchers to more advanced roles, with the skills and expectations for them evolving.
  • Potentially quite powerful, situated learning is much less used for instruction than behaviorist or cognitivist approaches. This is largely because creating tacit, relatively unstructured learning in complex real-world settings is difficult.
    • Barbara Lindsey
      Barbara Lindsey on 30 Oct 07
       
      Not too far in the future!
  • However, virtual environments and ubiquitous computing can draw on the power of situated learning by creating immersive, extended experiences with problems and contexts similar to the real world.9 In particular, MUVEs and real-world settings augmented with virtual information provide the capability to create problem-solving communities in which participants can gain knowledge and skills through interacting with other participants who have varied levels of skills, enabling legitimate peripheral participation driven by intrinsic sociocultural forces.
  • Situated learning is important in part because of the crucial issue of transfer. Transfer is defined as the application of knowledge learned in one situation to another situation and is demonstrated if instruction on a learning task leads to improved performance on a transfer task, typically a skilled performance in a real-world setting
    • Barbara Lindsey
      Barbara Lindsey on 30 Oct 07
       
      One of the most difficult skills to master.
  • Moreover, the evolution of an individual's or group's identity is an important type of learning for which simulated experiences situated in virtual environments or augmented realities are well suited. Reflecting on and refining an individual identity is often a significant issue for higher education students of all ages, and learning to evolve group and organizational identity is a crucial skill in enabling innovation and in adapting to shifting contexts.
  • Immersion is important in this process of identity exploration because virtual identity is unfettered by physical attributes such as gender, race, and disabilities.
    • Barbara Lindsey
      Barbara Lindsey on 30 Oct 07
       
      Don't agree with this. We come to any environment with our own baggage and we do not interact in a neutral social context.
  • Thanks to out-of-game trading of in-game items, Norrath, the virtual setting of the MMOG EverQuest, is the seventy-seventh largest economy in the real world, with a GNP per capita between that of Russia and Bulgaria. One platinum piece, the unit of currency in Norrath, trades on real world exchange markets higher than both the Yen and the Lira (Castronova, 2001).14
  • Multiple teams of students can access the MUVE simultaneously, each individual manipulating an avatar which is "sent back in time" to this virtual environment. Students must collaborate to share the data each team collects. Beyond textual conversation, students can project to each other "snapshots" of their current individual point of view (when someone has discovered an item of general interest) and also can "teleport" to join anyone on their team for joint investigation. Each time a team reenters the world, several months of time have passed in River City, so learners can track the dynamic evolution of local problems.
  • In our research on this educational MUVE based on situated learning, we are studying usability, student motivation, student learning, and classroom implementation issues. The results thus far are promising: All learners are highly motivated, including students typically unengaged in classroom settings. All students build fluency in distributed modes of communication and expression and value using multiple media because each empowers different types of communication, activities, experiences, and expressions. Even typically low-performing students can master complex inquiry skills and sophisticated content. Shifts in the pedagogy within the MUVE alter the pattern of student performance.
    • Barbara Lindsey
      Barbara Lindsey on 30 Oct 07
       
      Would like to see research on this.
  • Research shows that many participants value this functionality and choose to access the Web page after leaving the museum.
    • Barbara Lindsey
      Barbara Lindsey on 30 Oct 07
       
      More could be done with this.
  • Participants in these distributed simulations use location-aware handheld computers (with GPS technology), allowing users to physically move throughout a real-world location while collecting place-dependent simulated field data, interviewing virtual characters, and collaboratively investigating simulated scenarios.
    • Barbara Lindsey
      Barbara Lindsey on 30 Oct 07
       
      Much better
  • Initial research on Environmental Detectives and other AR-based educational simulations demonstrates that this type of immersive, situated learning can effectively engage students in critical thinking about authentic scenarios.
  • Students were most effective in learning and problem-solving when they collectively sought, sieved, and synthesized experiences rather than individually locating and absorbing information from some single best source.
    • Barbara Lindsey
      Barbara Lindsey on 30 Oct 07
       
      How does this 'fit' learning goals and teaching styles in our program?
  • Rheingold's forecasts draw on lifestyles seen at present among young people who are high-end users of new media
  • Rather than having core identities defined through a primarily local set of roles and relationships, people would express varied aspects of their multifaceted identities through alternate extended experiences in distributed virtual environments and augmented realities.
    • Barbara Lindsey
      Barbara Lindsey on 30 Oct 07
       
      How is this different from current experiences for individuals working within/across different social groups and boundaries?
  • one-third of U.S. households now have broadband access to the Internet. In the past three years, 14 million U.S. families have linked their computers with wireless home networks. Some 55 percent of Americans now carry cell phones
  • Mitchell's forecasts25 are similar to Rheingold's in many respects. He too envisions largely tribal lifestyles distributed across dispersed, fragmented, fluctuating habitats: electronic nomads wandering among virtual campfires. People's senses and physical agency are extended outward and into the intangible, at considerable cost to individual privacy. Individual identity is continuously reformed via an ever-shifting series of networking with others and with tools. People express themselves through nonlinear, associational webs of representations rather than linear "stories" and co-design services rather than selecting a precustomized variant from a menu of possibilities.
  • More and more, though, people of all ages will have lifestyles involving frequent immersion in both virtual and augmented reality. How might distributed, immersive media be designed specifically for education, and what neomillennial learning styles might they induce?
  • Mediated immersion creates distributed learning communities, which have different strengths and limits than location-bound learning communities confined to classroom settings and centered on the teacher and archival materials.27
  • Neomillenial Versus Millennial Learning Styles
  • Emphasis is placed on implications for strategic investments in physical plant, technology infrastructure, and professional development.
  • such as textbooks linked to course ratings by students)
  • Mirroring": Immersive virtual environments provide replicas of distant physical settings
  • Middleware, interoperability, open content, and open source
  • Finding information Sequential assimilation of linear information stream
  • Student products generally tests or papers Grading centers on individual performance
  • These ideas are admittedly speculative rather than based on detailed evidence and are presented to stimulate reaction and dialogue about these trends.
  • f we accept much of the analysis above
    • Barbara Lindsey
      Barbara Lindsey on 30 Oct 07
       
      But have they made the case for its educational value?
  • students of all ages with increasingly neomillennial learning styles will be drawn to colleges and universities that have these capabilities. Four implications for investments in professional development also are apparent. Faculty will increasingly need capabilities in:
  • Some of these shifts are controversial for many faculty; all involve "unlearning" almost unconscious beliefs, assumptions, and values about the nature of teaching, learning, and the academy. Professional development that requires unlearning necessitates high levels of emotional/social support in addition to mastering the intellectual/technical dimensions involved. The ideal form for this type of professional development is distributed learning communities so that the learning process is consistent with the knowledge and culture to be acquired. In other words, faculty must themselves experience mediated immersion and develop neomillennial learning styles to continue teaching effectively as the nature of students alters.
  • Differences among individuals are greater than dissimilarities between groups, so students in any age cohort will present a mixture of neomillennial, millennial, and traditional learning styles
  • The technologies discussed are emerging rather than mature, so their final form and influences on users are not fully understood. A substantial number of faculty and administrators will likely dismiss and resist some of the ideas and recommendations presented here.
Barbara Lindsey

New BBC Director Mandates Journalists Use Social Media - Rob's posterous - 0 views

robertpaterson.posterous.com/r-mandates-journalists-use-soc

social media bbc news

shared by Barbara Lindsey on 10 Feb 10 - Cached
  • On the social media front, Horrocks appears to take the stance that Twitter, RSS readers and other social media tools are extremely valuable news-gathering resources essential to the output of journalists working in these digital times.
  • Aggregating and curating content with attribution should become part of a BBC journalist’s assignment; and BBC’s journalists have to integrate and listen to feedback
  • Imagine if teachers heard that second paragraph. What a concept.
  • ...1 more annotation...
  • That will be the day!
Barbara Lindsey

FRONTLINE: digital nation: watch the full program | PBS - 0 views

www.pbs.org/...view

digitalnation pbs discussion frontline

shared by Barbara Lindsey on 04 Feb 10 - Cached
  • these dangers--like the potentials--can only really be understood when we study not individuals alone, but the contexts and systems of which they are a part.
  • these dangers--like the potentials--can only really be understood when we study not individuals alone, but the contexts and systems of which they are a part.
  • these dangers--like the potentials--can only really be understood when we study not individuals alone, but the contexts and systems of which they are a part.
  • ...16 more annotations...
  • these dangers--like the potentials--can only really be understood when we study not individuals alone, but the contexts and systems of which they are a part.
  • these dangers--like the potentials--can only really be understood when we study not individuals alone, but the contexts and systems of which they are a part.
  • these dangers--like the potentials--can only really be understood when we study not individuals alone, but the contexts and systems of which they are a part.
  • these dangers--like the potentials--can only really be understood when we study not individuals alone, but the contexts and systems of which they are a part.
  • these dangers--like the potentials--can only really be understood when we study not individuals alone, but the contexts and systems of which they are a part.
  • these dangers--like the potentials--can only really be understood when we study not individuals alone, but the contexts and systems of which they are a part.
  • these dangers--like the potentials--can only really be understood when we study not individuals alone, but the contexts and systems of which they are a part.
  • these dangers--like the potentials--can only really be understood when we study not individuals alone, but the contexts and systems of which they are a part.
  • these dangers--like the potentials--can only really be understood when we study not individuals alone, but the contexts and systems of which they are a part.
  • these dangers--like the potentials--can only really be understood when we study not individuals alone, but the contexts and systems of which they are a part.
  • Being told that a bunch of people are addicted is not all that helpful. Even worse is equating lots of time in and of itself to addiction. Why are they addicted? All for the same reasons? What else is going in their lives and cultures? What skills are they picking up if any? Is their massive time-on-task leading to anything or not? What percentage of players are addicted in any harmful sense?
  • There is also an important issue missed by the show and that is the question of how people from different social and economic groups use and benefit (or not) from digital media. I guess it is not surprising that American TV does not much deal with class issues, but there is little doubt that digital media are leveraged by some families to great benefit for their children in school as part of a larger learning and literacy ecology that includes digital media and print. Other families use digital media in quite different ways. Indeed, there are many different uses with many different outcomes--my simple dichotomy really will not do, but it raises the issue of equity and outcomes for diverse people in our society (and, indeed, world).
  • Books can make people smarter or dumber--they can expose them to the world or hide reality from them. So any real understanding of them would have to be nuanced and contextual. For books we have long learned to ignore their power for bad. For digital media we are predisposed--at least if we are Baby Boomers--to look for the dangers.
  • The film is indeed thought provoking. Its power is in being by and large an "etic" (outside) view of other people's new cultures. It is less good at giving a real feel for what those new cultures and their concomitant practices mean to young people today from the inside.
  • What works for me about the website is that it is multi-vocal, allowing many points of view to be expressed on more or less equal footing, encouraging reflection as people make their own decisions about what to watch and how to juxtapose the pieces. I doubt any two readers took the same path through this material or any two teachers used the resources the website provides in precisely the same ways.
  • I frankly found the documentary itself mind-numbing and relentless. It rarely trusts the viewer to draw their own conclusions about what they are seeing and it deploys much of the material in ways which point towards a much less nuanced conclusion than any of the participants in the conversation might have advocated.
Barbara Lindsey

Mark McLaughlin: Audiences Don't Pay for Content - 0 views

www.huffingtonpost.com/...-dont-pay-for-co_b_508985.html

media business distribution

shared by Barbara Lindsey on 29 Mar 10 - Cached
  • Barbara Lindsey on 29 Mar 10
     
    Rebuts popular perception that new media has destroyed the old pay-for-content media distribution model.
suzanne ondrus

Social Media in Africa, Part 1 - 1 views

www.readwriteweb.com/...ial_media_in_africa_part_1.php

shared by suzanne ondrus on 05 Apr 10 - Cached
  • undergoing a connectivity revolution
  • Africa
  • Part One of this series looks at social media contributions from Africans, Part Two looks at mobile and connectivity innovations and Part Three looks at how local Governments, NGOs and nonprofits are being affected.
  • ...8 more annotations...
  • Technology unconferences and Barcamps have sprung up all over the continent, everywhere from Kenya to Nairobi to Madagascar to Uganda and Senegal.
  • The three biggest success stories of independent social media projects taking off in Africa are Afrigator (a South African aggregator of African blogs and news), Zoopy (a YouTube/Flickr like service also out of South Africa) and Ushahidi (an SMS crisis reporting and mapping engine from Kenya). All three have drawn international attention which resulted in a major investment for Zoopy and Afrigator's acquisition (ReadWriteWeb's coverage). Meanwhile Ushahidi has successfully raised several rounds of funding after winning the Net2 Mashup Compeition prize of $25,000.
  • Afrigator defines itself as "a social media aggregator and directory built especially for African digital citizens who publish and consume content on the web."
  • Zoopy is a South African social media tool created by Jason Elk that allows users to upload videos, podcasts, and pictures and share them on the web.
  • Ushahidi relies heavily upon GoogleMaps, which it uses for mapping reports of incidents. It's built on the Zend framework for PHP and uses a number of different protocols for SMS, GPRS and mapping data.
    • Barbara Lindsey
      Barbara Lindsey on 05 Apr 10
       
      Example of mashup and use of geomapping.
  • The applications to follow are definitely the ones that leverage the mobile telephony infrastructure. An overwhelming portion of African users have no convenient access beyond cellular terminals - and that has spawned very innovative solutions based on existing and widely accessible technologies such as SMS. Examples abound such as Mpesa, Celpay, Etranzact and everyone else who is thriving in that formerly almost entirely cash-bound insecure environment. Underdeveloped banking and underdeveloped fixed telecommunications infrastructures are huge opportunities.
  • The Web Community
    • suzanne ondrus
      suzanne ondrus on 29 Apr 10
       
      Internet is expensive in Africa, at least where I was in Benin. It was a dollar an hour where I was. And teachers only earned $3 a day.
  • Mobile phones
    • suzanne ondrus
      suzanne ondrus on 29 Apr 10
       
      I was in Benin for nine months in 2006-2007 and can attest to how expensive it is to talk on cell phones- for local calls! A 15 min. local call cost about $20. I remember thinking how calling from the U.S. to Benin was cheaper than making local calls in Benin.
Barbara Lindsey

How Social Media is Changing Government Agencies - 0 views

mashable.com/...vernment-agencies-social-media

social media government twitter facebook

shared by Barbara Lindsey on 24 May 10 - Cached
  • Funded by the American Recovery and Reinvestment Act, the U.S. Geological Survey’s Twitter Earthquake Detector (@USGSTed) is a prototype that gathers real-time Twitter updates during seismic activities faster than scientific equipment can be tapped for more precise measurements and alerts. It examines earthquakes at an anecdotal level, and complements scientific analysis, according to the project’s overseer, Paul Earle.
  • At the most basic level, social media is about community building. Government agencies have adopted this mindset to varying degrees as a way to foster trust and dialogue with people. “It is truly a national town hall that has never been attempted during a disaster,” said Commander James Hoeft of the U.S. Navy, who oversees the cleanup effort’s social media team.
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