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Barbara Lindsey

gladwell dot com - designs for working - 0 views

  • The task of the office, then, is to invite a particular kind of social interaction--the casual, nonthreatening encounter that makes it easy for relative strangers to talk to each other. Offices need the sort of social milieu that Jane Jacobs found on the sidewalks of the West Village. "It is possible in a city street neighborhood to know all kinds of people without unwelcome entanglements, without boredom, necessity for excuses, explanations, fears of giving offense, embarrassments respecting impositions or commitments, and all such paraphernalia of obligations which can accompany less limited relationships," Jacobs wrote. If you substitute "office" for "city street neighborhood," that sentence becomes the perfect statement of what the modern employer wants from the workplace.
    • Barbara Lindsey
       
      This reminds me of the strength of weak ties argument.
  • In the war-room study, the company moved the client, the programmers, and a manager into a dedicated conference room, and made them stay there until the project was done. Using the war room cut the software-development time by two-thirds, in part because there was far less time wasted on formal meetings or calls outside the building: the people who ought to have been bumping into each other were now sitting next to each other.
  • The agency is in a huge old warehouse, three stories high and the size of three football fields. It is informally known as Advertising City, and that's what it is: a kind of artfully constructed urban neighborhood. The floor is bisected by a central corridor called Main Street, and in the center of the room is an open space, with café tables and a stand of ficus trees, called Central Park. There's a basketball court, a game room, and a bar. Most of the employees are in snug workstations known as nests, and the nests are grouped together in neighborhoods that radiate from Main Street like Paris arrondissements. The top executives are situated in the middle of the room. The desk belonging to the chairman and creative director of the company looks out on Central Park. The offices of the chief financial officer and the media director abut the basketball court. Sprinkled throughout the building are meeting rooms and project areas and plenty of nooks where employees can closet themselves when they need to.
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  • A vital community, in Jacobs's view, required more than the appropriate physical environment. It also required a certain kind of person, who could bind together the varied elements of street life.
  • What Stephenson's X-rays do best, though, is tell you who the public characters are. In every network, there are always one or two people who have connections to many more people than anyone else. Stephenson calls them "hubs," and on her charts lines radiate out from them like spokes on a wheel. (Bernie the candy-store owner, on Jacobs's Hudson Street, was a hub.) A few people are also what Stephenson calls "gatekeepers": they control access to critical people, and link together a strategic few disparate groups. Finally, if you analyze the graphs there are always people who seem to have lots of indirect links to other people--who are part of all sorts of networks without necessarily being in the center of them. Stephenson calls those people "pulsetakers." (In Silicon Valleyspeak, the person in a sea of cubicles who pops his or her head up over the partition every time something interesting is going on is called a prairie dog: prairie dogs are pulsetakers.)
  • she pointed to the lines connecting that department with other departments. "They're all coming into this one place," she said, and she showed how all the lines coming out of marketing converged on one senior executive. "There's very little path redundancy. In human systems, you need redundancy, you need communication across multiple paths."
  • What concerned Stephenson wasn't just the lack of redundancy but the fact that, in her lingo, many of the paths were "unconfirmed": they went only one way.
  • What you want to do is put people who don't trust each other near each other. Not necessarily next to each other, because they get too close. But close enough so that when you pop your head up, you get to see people, they are in your path, and all of a sudden you build an inviting space where they can hang out, kitchens and things like that. Maybe they need to take a hub in an innovation network and place the person with a pulsetaker in an expert network--to get that knowledge indirectly communicated to a lot of people."
  • it's clear that there are some very simple principles from the study of public characters which ought to drive the design process. "You want to place hubs at the center," Joyce Bromberg, the director of space planning, says. "These are the ones other people go to in order to get information. Give them an environment that allows access. But there are also going to be times that they need to have control--so give them a place where they can get away. Gatekeepers represent the fit between groups. They transmit ideas. They are brokers, so you might want to put them at the perimeter, and give them front porches"--areas adjoining the workspace where you might put little tables and chairs. "Maybe they could have swinging doors with white boards, to better transmit information. As for pulsetakers, they are the roamers. Rather than give them one fixed work location, you might give them a series of touchdown spots--where you want them to stop and talk. You want to enable their meandering."
  • The point of the new offices is to compel us to behave and socialize in ways that we otherwise would not--to overcome our initial inclination to be office suburbanites. But, in all the studies of the new workplaces, the reservations that employees have about a more social environment tend to diminish once they try it. Human behavior, after all, is shaped by context, but how it is shaped--and whether we'll be happy with the result--we can understand only with experience.
Barbara Lindsey

Saylor Foundation's Free Courses Offer Path to Credit | Inside Higher Ed - 0 views

  •  
    fall 2012 syllabus
Barbara Lindsey

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

  •  
    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

What Are Grades For? - 0 views

  • There should be about as many marks of 3.5 or higher as there are pupils in a group with IQ's of 120 or above. There should be about as many marks of F (1.0 to 1.5) as there are pupils with IQ's of 95 or less. It is expected that the number of marks at the 3.5 level or higher, and at the 1.5 level or lower, may have a variance of 25 percent of the pupils in the IQ groups of 120 and up, and 95 and below. (1992, p. 10)
    • Barbara Lindsey
       
      This makes no bones about the fact that in this district grades serve to reinforce perceived intelligence levels and thus, sort learners into pre-determined, unchangeable ability categories. It has nothing to do with providing all students multiple paths and opportunities to learn and excel.
Barbara Lindsey

SpeEdChange: Considering Universal Design - 0 views

  • UDL means many things, depending on which group of researchers and advocates you are speaking to, but the general idea is to create learning environment which can be individually adapted to learner needs. In other words, the environment adapts rather than forcing the learner to.
  • educational institutions, content delivery systems, assessment systems, and ICT should be flexible enough to meet the diverse needs of the learner population.
  • And school ends in graduate school with them telling you that you are making your citations wrong - not that they can't tell where you got your information from, you're just not conforming absolutely to whichever nonsensical citation system your particular department has chosen to embrace."
    • Barbara Lindsey
       
      Do you see any problems with either conforming to or not conforming to an agreed upon citation system? What is Socol's argument here? Is this a good example for his argument? 
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  • A decade ago the Centre for Applied Special Technology (CAST) proposed 3 principles that could be applied to the curriculum and set an agenda for inclusion, as follows:1. Provide multiple representations of content.2. Provide multiple options for expression and control.3. Provide multiple options for engagement and motivation.and these remain essential, but I want to add a fourth which must apply to them all:4. That these representations and options be available to all students on the basis of understood needs and/or informed preference, without the need for diagnosis.
    • Barbara Lindsey
       
      To what extent have you experienced this in the courses you've taken? Would offering this to your students be helpful to them? Would it change the way you assess? Would this change the way a course is taught? How a program is structured? Do you see any problems with this?
  • This is not just privileging one media form over another, this is elevating the "how" over the "what" to an extreme extent. It not only humiliates those labelled with "disabilities," it refuses to accommodate the very legitimate choices of all students. Choices which might significantly improve the comfort, attention capabilities, and learning opportunities for that 60%-65% who currently fall far behind, and might even help those already doing well to achieve their full potential.
  • Under UDL content would be fully flexible in delivery.
  • UDL should really go further - especially in recognizing that not all students benefit from following the same path to skills and knowledge. Any system which applies the same pedagogy to all students is clearly not a universal design (in my mind it is not even moral). Insisting on everyone using the same textbook, or doing the exact same assignments, or following the same schedule - those are all industrial practices which are based in the belief that students are a raw material which can be shaped by repeated stampings. Any claims to some kind of rational meritocracy within that "same requirements" argument are simply a mask for the essential anti-humaness of the system.
    • Barbara Lindsey
       
      Would love to hear your thought on this assertion by Socol. If you agree with what he says, how would/could you structure the courses you teach? How could the courses you are taking as a student change? Would that help you? Could these courses then attract more diverse students? What would the learning look like? The assessments?
  • "Create something," he told us, "which demonstrates your in-depth knowledge of at least one critical moment in that century."
    • Barbara Lindsey
       
      How would you design an assessment around this?
  • I am not imparting malice to their position, simply suggesting that there is little incentive - emotionally, psychologically, or economically - for them to change.
    • Barbara Lindsey
       
      Do you think this is true?
  • I think that teacher training institutions should be required to have at least a third of their teaching and research faculty consist of individuals who have special needs, or who needed alternative educations, or who simply did badly in school.
Barbara Lindsey

News: The Rise of the 'Edupunk' - Inside Higher Ed - 0 views

  • said Mark David Milliron, deputy director for postsecondary improvement at the Bill & Melinda Gates Foundation.
  • So where are the bright spots? A continual refrain from panelists was the idea that “cutting to invest” is the only path forward. College leaders argue that the imperative to grow programs now invariably means the shedding of others.
    • Barbara Lindsey
       
      And what gets cut in the humanities?
Barbara Lindsey

Convenience, Communications, and Control: How Students Use Technology | Resources | EDU... - 0 views

  • They are characterized as preferring teamwork, experiential activities, and the use of technology
  • Doing is more important than knowing, and learning is accomplished through trial and error as opposed to a logical and rule-based approach.2 Similarly, Paul Hagner found that these students not only possess the skills necessary to use these new communication forms, but there is an ever increasing expectation on their part that these new communication paths be used
  • Much of the work to date, while interesting and compelling, is intuitive and largely based on qualitative data and observation.
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  • There is an inexorable trend among college students to universal ownership, mobility, and access to technology.
  • Students were asked about the applications they used on their electronic devices. They reported that they use technology first for educational purposes, followed by communication.
    • Barbara Lindsey
       
      All self-reported. Would have been powerful if could have actually tracked a representative sample and compared actual use with reported use.
  • presentation software was driven primarily by the requirements of the students' major and the curriculum.
  • Communications and entertainment are very much related to gender and age.
  • From student interviews, a picture emerged of student technology use driven by the demands of the major and the classes that students take. Seniors reported spending more time overall on a computer than do freshmen, and they reported greater use of a computer at a place of employment. Seniors spent more hours on the computer each week in support of their educational activities and also more time on more advanced applications—spreadsheets, presentations, and graphics.
  • Confirming what parents suspect, students with the lowest grade point averages (GPAs) spend significantly more time playing computer games; students with the highest GPAs spend more hours weekly using the computer in support of classroom activities. At the University of Minnesota, Crookston, students spent the most hours on the computer in support of classroom activities. This likely reflects the deliberate design of the curriculum to use a laptop extensively. In summary, the curriculum's technology requirements are major motivators for students to learn to use specialized software.
  • The interviews indicated that students are skilled with basic office suite applications but tend to know just enough technology functionality to accomplish their work; they have less in-depth application knowledge or problem solving skills.
  • According to McEuen, student technology skills can be likened to writing skills: Students come to college knowing how to write, but they are not developed writers. The analogy holds true for information technology, and McEuen suggested that colleges and universities approach information technology in the same way they approach writing.6
  • he major requires the development of higher-level skill sets with particular applications.
    • Barbara Lindsey
       
      Not really quantitative--self-reported data back by selected qualitative interviews
  • The comparative literature on student IT skill self-assessment suggests that students overrate their skills; freshmen overrate their skills more than seniors, and men overrate their skills more than women.7 Our data supports these conclusions. Judy Doherty, director of the Student Technologies Resource Group at Colgate University, remarked on student skill assessment, "Students state in their job applications that they are good if not very good, but when tested their skills are average to poor, and they need a lot of training."8
  • Mary Jane Smetanka of the Minneapolis–St. Paul Star Tribune reported that some students are so conditioned by punch-a-button problem solving on computers that they approach problems with a scattershot impulsiveness instead of methodically working them through. In turn, this leads to problem-solving difficulties.
  • We expected to find that the Net Generation student prefers classes that use technology. What we found instead is a bell curve with a preference for a moderate use of technology in the classroom (see Figure 1).
    • Barbara Lindsey
       
      More information needs to be given to find out why--may be tool and method not engaging.
  • It is not surprising that if technology is used well by the instructor, students will come to appreciate its benefits.
  • A student's major was also an important predictor of preferences for technology in the classroom (see Table 3), with engineering students having the highest preference for technology in the classroom (67.8 percent), followed by business students (64.3 percent).
  • Humanities 7.7% 47.9% 40.2
  • he highest scores were given to improved communications, followed by factors related to the management of classroom activities. Lower impact activities had to do with comprehension of classroom materials (complex concepts).
  • I spend more time engaged in course activities in those courses that require me to use technology.
  • The instructors' use of technology in my classes has increased my interest in the subject matter. 3.25 Classes that use information technology are more likely to focus on real-world tasks and examples.
  • Interestingly, students do not feel that use of information technology in classes greatly increases the amount of time engaged with course activities (3.22 mean).12 This is in direct contrast to faculty perceptions reported in an earlier study, where 65 percent of faculty reported they perceived that students spend more time engaged with course materials
  • Only 12.7 percent said the most valuable benefit was improved learning; 3.7 percent perceived no benefit whatsoever. Note that students could only select one response, so more than 12.7 percent may have felt learning was improved, but it was not ranked highest. These findings compare favorably with a study done by Douglas Havelka at the University of Miami in Oxford, Ohio, who identified the top six benefits of the current implementation of IT as improving work efficiency, affecting the way people behave, improving communications, making life more convenient, saving time, and improving learning ability.14
    • Barbara Lindsey
       
      Would have been good to know exactly what kinds of technologies were meant here.
  • Our data suggest that we are at best at the cusp of technologies being employed to improve learning.
  • The interactive features least used by faculty were the features that students indicated contributed the most to their learning.
  • he students in this study called our attention to performance by noting an uneven diffusion of innovation using this technology. This may be due, in part, to faculty or student skill. It may also be due to a lack of institutional recognition of innovation, especially as the successful use of course management systems affects or does not affect faculty tenure, promotion, and merit decisions
  • we found that many of the students most skilled in the use of technology had mixed feelings about technology in the classroom.
  • What we found was that many necessary skills had to be learned at the college or university and that the motivation for doing so was very much tied to the requirements of the curriculum. Similarly, the students in our survey had not gained the necessary skills to use technology in support of academic work outside the classroom. We found a significant need for further training in the use of information technology in support of learning and problem-solving skills.
  • Course management systems were used most by both faculty and students for communication of information and administrative activities and much less in support of learning.
  • In 1997, Michael Hooker proclaimed, "higher education is on the brink of a revolution." Hooker went on to note that two of the greatest challenges our institutions face are those of "harnessing the power of digital technology and responding to the information revolution."18 Hooker and many others, however, did not anticipate the likelihood that higher education's learning revolution would be a journey of a thousand miles rather than a discrete event. Indeed, a study of learning's last great revolution—the invention of moveable type—reveals, too, a revolution conducted over centuries leading to the emergence of a publishing industry, intellectual property rights law, the augmentation of customized lectures with textbooks, and so forth.
  • Both the ECAR study on faculty use of course management systems and this study of student experiences with information technology concluded that, while information technology is indeed making important inroads into classroom and learning activities, to date the effects are largely in the convenience of postsecondary teaching and learning and do not yet constitute a "learning revolution." This should not surprise us. The invention of moveable type enhanced, nearly immediately, access to published information and reduced the time needed to produce new publications. This invention did not itself change literacy levels, teaching styles, learning styles, or other key markers of a learning revolution. These changes, while catalyzed by the new technology, depended on slower social changes to institutions. I believe that is what we are witnessing in higher education today.
  • The institutions chosen represent a nonrepresentative mix of the different types of higher education institution in the United States, in terms of Carnegie class as well as location, source of funding, and levels of technology emphasis. Note, however, that we consider our findings to be instructive rather than conclusive of student experiences at different types of Carnegie institutions.
  • Qualitative data were collected by means of focus groups and individual interviews. We interviewed undergraduate students, administrators, and individuals identified as experts in the field of student technology use in the classroom. Student focus groups and interviews of administrators were conducted at six of the thirteen schools participating in the study.
Barbara Lindsey

Print: The Chronicle: 6/15/2007: The New Metrics of Scholarly Authority - 0 views

    • Barbara Lindsey
       
      Higher ed slow to respond.
  • Web 2.0 is all about responding to abundance, which is a shift of profound significance.
  • Chefs simply couldn't exist in a world of universal scarcity
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  • a time when scholarship, and how we make it available, will be affected by information abundance just as powerfully as food preparation has been.
  • Scholarly communication before the Internet required the intermediation of publishers. The costliness of publishing became an invisible constraint that drove nearly all of our decisions. It became the scholar's job to be a selector and interpreter of difficult-to-find primary and secondary sources; it was the scholarly publisher's job to identify the best scholars with the best perspective and the best access to scarce resources.
    • Barbara Lindsey
       
      Comments?
  • Online scholarly publishing in Web 1.0 mimicked those fundamental conceptions. The presumption was that information scarcity still ruled. Most content was closed to nonsubscribers; exceedingly high subscription costs for specialty journals were retained; libraries continued to be the primary market; and the "authoritative" version was untouched by comments from the uninitiated. Authority was measured in the same way it was in the scarcity world of paper: by number of citations to or quotations from a book or article, the quality of journals in which an article was published, the institutional affiliation of the author, etc.
  • Google
  • Google
    • Barbara Lindsey
       
      Where critical analysis comes in
  • The challenge for all those sites pertains to abundance:
  • Such systems have not been framed to confer authority, but as they devise means to deal with predators, scum, and weirdos wanting to be a "friend," they are likely to expand into "trust," or "value," or "vouching for my friend" metrics — something close to authority — in the coming years.
  • ecently some more "authoritative" editors have been given authority to override whining ax grinders.
  • In many respects Boing Boing is an old-school edited resource. It doesn't incorporate feedback or comments, but rather is a publication constructed by five editor-writers
  • As the online environment matures, most social spaces in many disciplines will have their own "boingboings."
  • They differ from current models mostly by their feasible computability in a digital environment where all elements can be weighted and measured, and where digital interconnections provide computable context.
  • In the very near future, if we're talking about a universe of hundreds of billions of documents, there will routinely be thousands, if not tens of thousands, if not hundreds of thousands, of documents that are very similar to any new document published on the Web. If you are writing a scholarly article about the trope of smallpox in Shakespearean drama, how do you ensure you'll be read? By competing in computability. Encourage your friends and colleagues to link to your online document. Encourage online back-and-forth with interested readers. Encourage free access to much or all of your scholarly work. Record and digitally archive all your scholarly activities. Recognize others' works via links, quotes, and other online tips of the hat. Take advantage of institutional repositories, as well as open-access publishers. The list could go on.
  • the new authority metrics, instead of relying on scholarly publishers to establish the importance of material for them.
  • They need to play a role in deciding not just what material will be made available online, but also how the public will be allowed to interact with the material. That requires a whole new mind-set.
  • cholarly publishers
  • Many of the values of scholarship are not well served yet by the Web: contemplation, abstract synthesis, construction of argument.
  • Traditional models of authority will probably hold sway in the scholarly arena for 10 to 15 years, while we work out the ways in which scholarly engagement and significance can be measured in new kinds of participatory spaces.
  • if scholarly output is locked away behind fire walls, or on hard drives, or in print only, it risks becoming invisible to the automated Web crawlers, indexers, and authority-interpreters that are being developed. Scholarly invisibility is rarely the path to scholarly authority.
  • Web 1.0,
  • garbed new business and publishing models in 20th-century clothes.
  • fundamental presumption is one of endless information abundance.
  • Flickr, YouTube
  • micromarkets
  • multiple demographics
  • Abundance leads to immediate context and fact checking, which changes the "authority market" substantially. The ability to participate in most online experiencesvia comments, votes, or ratingsis now presumed, and when it's not available, it's missed.
  • Google interprets a link from Page A to Page B as a vote, by Page A, for Page B. But, Google looks at more than the sheer volume of votes, or links a page receives; for example, it also analyzes the page that casts the vote. Votes cast by pages that are themselves 'important' weigh more heavily and help to make other pages 'important,'"
  • It has its limits, but it also both confers and confirms authority because people tend to point to authoritative sources to bolster their own work.
  • That kind of democratization of authority is nearly unique to wikis that are group edited, since not observation, but active participation in improvement, is the authority metric.
  • user-generated authority, many of which are based on algorithmic analysis of participatory engagement. The emphasis in such models is often not on finding scarce value, but on weeding abundance
  • Authority 3.0 will probably include (the list is long, which itself is a sign of how sophisticated our new authority makers will have to be): Prestige of the publisher (if any). Prestige of peer prereviewers (if any). Prestige of commenters and other participants. Percentage of a document quoted in other documents. Raw links to the document. Valued links, in which the values of the linker and all his or her other links are also considered. Obvious attention: discussions in blogspace, comments in posts, reclarification, and continued discussion. Nature of the language in comments: positive, negative, interconnective, expanded, clarified, reinterpreted. Quality of the context: What else is on the site that holds the document, and what's its authority status? Percentage of phrases that are valued by a disciplinary community. Quality of author's institutional affiliation(s). Significance of author's other work. Amount of author's participation in other valued projects, as commenter, editor, etc. Reference network: the significance rating of all the texts the author has touched, viewed, read. Length of time a document has existed. Inclusion of a document in lists of "best of," in syllabi, indexes, and other human-selected distillations. Types of tags assigned to it, the terms used, the authority of the taggers, the authority of the tagging system.
  • Most technophile thinkers out there believe that Web 3.0 will be driven by artificial intelligences — automated computer-assisted systems that can make reasonable decisions on their own, to preselect, precluster, and prepare material based on established metrics, while also attending very closely to the user's individual actions, desires, and historic interests, and adapting to them.
  •  
    When the system of scholarly communications was dependent on the physical movement of information goods, we did business in an era of information scarcity. As we become dependent on the digital movement of information goods, we find ourselves entering an era of information abundance. In the process, we are witnessing a radical shift in how we establish authority, significance, and even scholarly validity. That has major implications for, in particular, the humanities and social sciences.
Barbara Lindsey

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

  • 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.
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  • 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

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

  • 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.
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  • 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

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

Europe Takes Its Own Path on Internet Privacy - NYTimes.com - 0 views

  •  
    fall 2011 syllabus
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