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Barbara Lindsey

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

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

294/365: You are in a maze of long straight passages, all alike on Flickr - Photo Sharing! - 0 views

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    Choose your own adventure idea using flickr
Barbara Lindsey

if:book: this progress - 0 views

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

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

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

UNCF Forum Series: Huston-Tilllotson Part 2 on Vimeo - 0 views

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    An interesting integration of video gaming to empower students to critically evaluate media representations of their communities and to create their own stories of their lives to challenge/expand on those representations.
Barbara Lindsey

The Tech Curve: RSU #19 Google Apps for Education Plan - 0 views

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    Great description of how one school district is using Google Apps for lifelong learning and teaching. Wonderful embedded video on advantages to migrating over to Google Email for educational institutions. Terrific description of how this school district in Maine is creating a scaffolded portfolio system that gives students increasing responsibility over their portfolio as they move from one grade level to the next, culminating in providing each graduating senior with his/her own domain name to use as their '21st century business card'.
Barbara Lindsey

Online Learning is so last year… | 21st Century Collaborative - 0 views

  • are people confusing talking to people online with deep, connected learning? Does being part of a social networking site or a NING community mean you are going deep- growing  in your ability to co-construct or deconstruct knowledge? Does it mean you are collaborating if you post, reply to a post, Tweet, or engage in a #edchat conversation? Are we moving toward an acceptance of superficiality as a replacement for deep learning? Has our multiple choice  culture trained our brains to believe that innovation is the holy grail?
  • If all I do is network I do not shift or grow because I am missing the opportunity to go deep and actually learn by doing. It takes both: Networks and Community. Online, global communities of practice and f2f learning communities in my local context.
  • Imagine the deep learning that can be produced when we come together in learning communities and do some of the following (below).
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  • Action Research Groups: Active research done by communities of practice focused on improvement around a possibility or problem in a classroom, school, district, or province.
  • Community of Practice (CoP): A CoP is group of professionals with shared interests and challenges who make a commitment to improve or get better at something over time by sharing ideas, finding solutions, and creating innovations. This requires new dispositions and values such as resisting the urge to quit prematurely.
  • Book Study Groups: PLPeeps, often in cross cohort groups, come together to read and discuss a book collectively in an online space
  • Connected Coaching: individuals on teams are assigned a connected coach who  discusses and shares teaching practices as a means of promoting collegiality and support and to help educators think about how the new literacies inform current teaching practices.
    • Barbara Lindsey
       
      Could you see this for your own ongoing practice and to implement in your own cops in the future?
    • Barbara Lindsey
       
      Could this form the foundation for the advanced course in BWCT?
  • Instructional Rounds:
  • Curriculum Review or Mapping Groups:
  • Critical Friends Groups (CFG):
  • Professional Learning Communities (PLC):
    • Barbara Lindsey
       
      Would this be something to implement while a TA to be able to document in a portfolio & bring to a job interview?
  • Personal Learning Network (PLN):
Barbara Lindsey

Syntax Untangler | University of Wisconsin-Madison - 1 views

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    Syntax Untangler is an online activity that asks the learner to visually mark up a short primary text in any language, in order to improve small-scale reading skills. Any instructor can easily create and publish their own Syntax Untangler content (go to the Instructor Tools link below).
Barbara Lindsey

Using Mobile Devices and Technology to Enhance Emotional Intelligence « User ... - 2 views

  • These students, as a group, are classified as lower income students.  None of their devices had the capability to download apps.  What this says to me as the educator is that when I am designing activities that use the students own devices in my BYOD classroom, that they cannot include the use of apps.  They have camera, email, texting, internet capabilities, but no way to use apps. 
  • As you can see the uploaded images created a personalized feelings poster.  Students were provided with scenarios and asked to locate on the Interactive White Board which of these displayed images that they created best represented how they would feel in that situation.
    • Barbara Lindsey
       
      Could you imagine using this activity with your students and if so, how would you modify it?
Barbara Lindsey

Moving at the Speed of Creativity - Academic Integrity on a Digital Campus by Berlin Fang - 0 views

  • Causes of Academic Dishonesty from literature: Craig, Federici & Buehler, 2010 Academic - assessment design - education about academic dishonesty - poor understanding of citation styles - “poor understanding of the proper use of intellectual property”
  • Ethical - cutting corners - work ethics - cultureal differences Personal - personal maturity - “poor time management skills” - “new to college experience” Academic dishonesty can be defined as “anything with gives students an unearned advantage academically” - see Hart and Morgan, 2010
  • We also use TurnItIn.com Encourage professors to use questions from randomized question blocks Provide resources - Writing Center - Library Resources - Endnote
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  • One example: LockDown Browser - students are locked down to just that browser - highly recommended by Berlin, stop students from digitally multi-tasking during exams in class
  • You need to have published policies and procedures about academic dishonesty - policies, syllabus, and enforcement Education is key - do this as part of orientation - special seminars for students - workshops for teachers
  • It comes down to this: “Life itself is open book” “Open is the new normal” - some assessment can be made out in the open so students can have their own identities - like blogs - I was very impressed by Dr. Alec Couros‘ presentation yesterday about how students are using their blogs
Barbara Lindsey

Tokyo Green Space | The Japan Times Online - 0 views

  • 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.
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    fall 2012 syllabus
Barbara Lindsey

Calhoun School: Steve's Blog Is it Learning or Training? - 0 views

  • proponents claim, the methods “work,” as represented by higher test scores.   Because, they add, the methods are efficient, meaning you can produce results with brutal economic efficiency and large classes.  And, in ed policy-speak, the systematized, highly structured methodologies are “scaleable,” easily replicated and exported to other schools. 
  • Anyone intensely “drilled” in facts or simple algorithms will demonstrate superior performance when tested on short-term retention.   The students in programs like that at Williamsburg Collegiate are being trained to give the “right” answers, but they are learning little or nothing.   Other evidence exposes the folly of these practices, as test score gains among younger students are not holding as the same students move into older grades. But the policy response in most places is reflexive, not reflective.   Drill them more and test ‘em again! 
  • Perhaps the greatest tragedy of this approach to education is that it disregards, often punishes, the qualities that most characterize real learning.  Children are discouraged from expressing a point of view – no time for that and it isn’t on the test.  Creativity is irrelevant.  Children who are sensitive and poetic are devalued, forced into quick, aggressive responses by a drill sergeant teacher.   Critical thinking is not welcome.  Where is the space for empathy and imagination?  What about the child whose unique intelligence is the ability to visualize something beautiful, to see another possible way to solve a problem, to turn a history assignment into a song?
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  • Most highly regimented urban charter schools are largely for the “other” –the underclass children of color whom powerful people talk about but seldom meet.    I wonder if Mssrs. Gates, Broad, Dell, Walton or Bloomberg would subject their own children to such a school environment, where they would march in tight formation and eagerly parrot the “right” answers required by the training manual?    I would guess not.  Of course I didn’t see many of those guys at Fort Benning either.         
  • There is little evidence outside of the short term, self-fulfilling cycle of call and response, that these schools are educating students at all
Barbara Lindsey

ASCD Express 5.18 - Cell Phones Allow Anytime Learning - 0 views

  • She is currently writing a book tentatively titled Cases for Using Students' Cell Phones in Education: A Practical Guide to Using Cell Phones in K–12 Schools, which looks at 11 U.S. and 5 international case studies of teachers integrating students' own cell phones into instruction.
  • One of Larry Cuban's (Teachers and Machines, Oversold and Underused) theories about why ed technology often fails in schools is that we use this top-down approach where administrators or tech coordinators introduce the technologies to the teachers, and they in turn try to introduce and teach it to the students. It's a very foreign concept for the students, as well as the teachers. And often what happens is maybe a handful of teachers end up using this very expensive technology, and students don't have any access to it outside of school. Cuban recommends a much more bottom-up approach to ed technology. Rather than making specialized software and hardware just for school learning, students and society introduce the technologies that schools should be integrating into learning.
  • People who know the history of ed technology know that it hasn't been that successful, long-term, with sustaining learning because it's often attached to a tool that students don't have access to outside of school.
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  • For many schools, the hardest part is making it acceptable to turn to technologies that aren't traditionally used in schools. It's a culture that has to be cultivated at the school itself. In the book I'm working on now, many of the teachers in the case studies I discuss approached their administrators with something they'd been using with success outside of school, and their administrators were open to trying it out within school. Kipp Rogers at Passages Middle School in Newport News, Va., has done a phenomenal job modeling that approach and valuing not only his teachers, but also his students, who are involved in planning, as well.
  • Q: From what you've seen in the field, what's the most interesting instructional use of mobile devices happening now? Keren-Kolb: Definitely what's going on in Australia. Teachers are using QR (two-dimensional bar codes) for activities and learning. In the United States, about 60 percent of the phones can do this, but in most other countries, it's almost universal. So, in some Australian schools, this means [that] students come in on the first day of class and their entire syllabus is on a bar code they scan directly into their phone—same thing with some books and homework assignments. They'll scan a code for their homework, and it'll link to video tutorials and activities. So, moving away from textbooks and moving toward paperless learning that's much more interactive. I think that's exciting—how much information you can attach to that little bar code, and use it to extend learning.
  • When students can use whatever tools are around them, obviously, testing changes. It's not just about a right or wrong answer—it's about inquiry, collaboration, and the higher-order thinking skills we want students to do.
Barbara Lindsey

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

  • 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
       
      How many courses have you yourself taken that incorporate this definition of CoP as one of its goals? 
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  • 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
       
      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

YouTube - What is Hotseat in your own words? - 0 views

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    Students talk about the use of hotseat in their courses.
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