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Barbara Lindsey

Langwitches Blog » Christopher Columbus Creates 21st Century Explorers - 0 views

  • I would love to have my students in China join in the discussion about Christopher Columbus.  They would like to share with your students the story of the great Chinese admiral, Zheng He (http://en.wikipedia.org/wiki/Zheng_He), and his exploration of the world 50 years before Columbus set sail. My students are studying US history this semester, and we are exploring the topic of the “Columbian exchange;” how the the early explorations brought plants, animals, and diseases around the world for the first time.
  • Although Christopher Columbus day as come and gone and the 5th graders unit on the historical figure has (officially) ended, we will continue to make connections to expand our horizons and learn from different perspectives.
  • As a class we analyzed the responses of the survey in the spreadsheet, although I received nightly updates via email from excited students as the numbers of participants climbed steadily.
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  • Then came the moment when the class formulated questions to be used in a survey asking others to share their thoughts, ideas and knowledge about Christopher Columbus. The survey was then embedded on the classroom blog. I tweeted and blogged about their survey and asked my network to please take the time to answer their questions.
Barbara Lindsey

Toolbox or Trap? Course Management Systems and Pedagogy (EDUCAUSE Quarterly) | EDUCAUSE... - 0 views

  • Campuses have adopted these programs on a wide scale, yet few studies have looked at how the design and use of a CMS affects pedagogy, and instructors rarely discuss how a CMS affects their teaching.
    • Barbara Lindsey
       
      Discuss in class.
  • Decisions about which learning software to use on campus are often made by campus technologists and administrators rather than faculty.
    • Barbara Lindsey
       
      Not surprisingly, this also is the case at UCONN.
  • The construction of the course syllabus, a natural beginning point for most instructors, is a good example of how the software imposes limitations. When they first enter a CMS, new instructors see the default buttons of the course menu, which are based on type rather than purpose: Announcements, Course Content, Discussion, even Syllabus.
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  • The default organization of the CMS forces them to think in terms of content types instead, breaking the natural structure of the semester.
  • In addition to a counterintuitive organizational scheme, integrated commercial systems have a built-in pedagogy, evident in the easiest-to-use, most accessible features. The focus on presentation (written documents to read), complemented by basic "discussion" input from students, is based on traditional lecture, review, and test pedagogy. This orientation is very different from the development of knowledge through a constructivist, learner-centered, or inquiry-based approach, which a number of faculty use successfully in the classroom.
  • But at the novice level, the system simply does not encourage such customization. To be able to modify the CMS to employ alternative teaching methods, instructors must have a well-developed sense of what is possible in the online environment before approaching the course design process—a perspective many do not have when they first start teaching online. When presented with a list of options, most people typically choose one option rather than question the list itself.
  • Most faculty do not use the web either extensively or intensively in their own work, and those who aren't "into technology" will quickly find themselves overwhelmed by a CMS.
  • Even after several years of working with a CMS, faculty requests for help tend to focus on what the technology can do rather than how their teaching and learning goals can be achieved.
    • Barbara Lindsey
       
      Important distinction.
  • An instructor seeking an easy way to post word-processed documents, enter grades, receive papers and assignments through a digital dropbox, and run a traditional threaded discussion board will tend to show great satisfaction with using a CMS.4 Those who tax the system more, and use the most complex features, show lower levels of satisfaction. In addition, after spending months creating material and quizzes in a proprietary system, faculty rightly panic at the idea of "moving everything" to another system. The big systems simply do not allow for easy export, and no one wants to do all that work over again. It is much easier to simply declare satisfaction with things the way they are.
  • There are, of course, alternatives to these hampering systems, and you don't have to be a programmer or Internet expert to use them.
  • Web 2.0 applications that encourage social construction of knowledge (Wikispaces, BubbleShare, Ning) are freely available and may provide more creative instructors with better options than any LMS currently available. Such programs make possible the creation of one's own mini-CMS, cobbled together out of programs that fit with the instructor's methodology. In these cases, pedagogy comes first—the tools can be used to build the courses we want to teach.
  •  
    Discuss this in class
Barbara Lindsey

Dr. Mashup; or, Why Educators Should Learn to Stop Worrying and Love the Remix | EDUCAU... - 0 views

  • A classroom portal that presents automatically updated syndicated resources from the campus library, news sources, student events, weblogs, and podcasts and that was built quickly using free tools.
  • Increasingly, it's not just works of art that are appropriated and remixed but the functionalities of online applications as well.
  • mashups involve the reuse, or remixing, of works of art, of content, and/or of data for purposes that usually were not intended or even imagined by the original creators.
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  • hat, exactly, constitutes a valid, original work? What are the implications for how we assess and reward creativity? Can a college or university tap the same sources of innovative talent and energy as Google or Flickr? What are the risks of permitting or opening up to this activity?
    • Barbara Lindsey
       
      Good discussion point
  • Remix is the reworking or adaptation of an existing work. The remix may be subtle, or it may completely redefine how the work comes across. It may add elements from other works, but generally efforts are focused on creating an alternate version of the original. A mashup, on the other hand, involves the combination of two or more works that may be very different from one another. In this article, I will apply these terms both to content remixes and mashups, which originated as a music form but now could describe the mixing of any number of digital media sources, and to data mashups, which combine the data and functionalities of two or more Web applications.
  • Harper's article "The Ecstasy of Influence," the novelist Jonathan Lethem imaginatively reviews the history of appropriation and recasts it as essential to the act of creation.3
  • Lethem's article is a must-read for anyone with an interest in the history of ideas, creativity, and intellectual property. It brilliantly synthesizes multiple disciplines and perspectives into a wonderfully readable and compelling argument. It is also, as the subtitle of his article acknowledges, "a plagiarism." Virtually every passage is a direct lift from another source, as the author explains in his "Key," which gives the source for every line he "stole, warped, and cobbled together." (He also revised "nearly every sentence" at least slightly.) Lethem's ideas noted in the paragraph above were appropriated from Siva Vaidhyanathan, Craig Baldwin, Richard Posner, and George L. Dillon.
  • Reading Walter Benjamin's highly influential 1936 essay "The Work of Art in the Age of Mechanical Reproduction,"4 it's clear that the profound effects of reproductive technology were obvious at that time. As Gould argued in 1964 (influenced by theorists such as Marshall McLuhan5), changes in how art is produced, distributed, and consumed in the electronic age have deep effects on the character of the art itself.
  • Yet the technology developments of the past century have clearly corresponded with a new attitude toward the "aura" associated with a work of invention and with more aggressive attitudes toward appropriation. It's no mere coincidence that the rise of modernist genres using collage techniques and more fragmented structures accompanied the emergence of photography and audio recording.
  • Educational technologists may wonder if "remix" or "content mashup" are just hipper-sounding versions of the learning objects vision that has absorbed so much energy from so many talented people—with mostly disappointing results.
  • The question is, why should a culture of remix take hold when the learning object economy never did?
  • when most learning object repositories were floundering, resource-sharing services such as del.icio.us and Flickr were enjoying phenomenal growth, with their user communities eagerly contributing heaps of useful metadata via simple folksonomy-oriented tagging systems.
  • the standards/practices relationship implicit in the learning objects model has been reversed. With only the noblest of intentions, proponents of learning objects (and I was one of them) went at the problem of promoting reuse by establishing an arduous and complex set of interoperability standards and then working to persuade others to adopt those standards. Educators were asked to take on complex and ill-defined tasks in exchange for an uncertain payoff. Not surprisingly, almost all of them passed.
  • Discoverable Resources
  • Educators might justifiably argue that their materials are more authoritative, reliable, and instructionally sound than those found on the wider Web, but those materials are effectively rendered invisible and inaccessible if they are locked inside course management systems.
  • It's a dirty but open secret that many courses in private environments use copyrighted third-party materials in a way that pushes the limits of fair use—third-party IP is a big reason why many courses cannot easily be made open.
  • The potential payoff for using open and discoverable resources, open and transparent licensing, and open and remixable formats is huge: more reuse means that more dynamic content is being produced more economically, even if the reuse happens only within an organization. And when remixing happens in a social context on the open web, people learn from each other's process.
  • Part of making a resource reusable involves making the right choices for file formats.
  • To facilitate the remixing of materials, educators may want to consider making the source files that were used to create a piece of multimedia available along with the finished result.
  • In addition to choosing the right file format and perhaps offering the original sources, another issue to consider when publishing content online is the critical question: "Is there an RSS feed available?" If so, conversion tools such as Feed2JS (http://www.feed2JS.org) allow for the republication of RSS-ified content in any HTML Web environment, including a course management system, simply by copying and pasting a few lines of JavaScript code. When an original source syndicated with RSS is updated, that update is automatically rendered anywhere it has been republished.
  • Jack Schofield
  • Guardian Unlimited
  • "An API provides an interface and a set of rules that make it much easier to extract data from a website. It's a bit like a record company releasing the vocals, guitars and drums as separate tracks, so you would not have to use digital processing to extract the parts you wanted."1
  • What's new about mashed-up application development? In a sense, the factors that have promoted this approach are the same ones that have changed so much else about Web culture in recent years. Essential hardware and software has gotten more powerful and for the most part cheaper, while access to high-speed connectivity and the enhanced quality of online applications like Google Docs have improved to the point that Tim O'Reilly and others can talk of "the emergent Internet operating system."15 The growth of user-centered technologies such as blogs have fostered a DIY ("do it yourself") culture that increasingly sees online interaction as something that can be personalized and adapted on the individual level. As described earlier, light syndication and service models such as RSS have made it easier and faster than ever to create simple integrations of diverse media types. David Berlind, executive editor of ZDNet, explains: "With mashups, fewer technical skills are needed to become a developer than ever. Not only that, the simplest ones can be done in 10 or 15 minutes. Before, you had to be a pretty decent code jockey with languages like C++ or Visual Basic to turn your creativity into innovation. With mashups, much the same way blogging systems put Web publishing into the hands of millions of ordinary non-technical people, the barrier to developing applications and turning creativity into innovation is so low that there's a vacuum into which an entire new class of developers will be sucked."16
  • The ability to "clone" other users' mashups is especially exciting: a newcomer does not need to spend time learning how to structure the data flows but can simply copy an existing framework that looks useful and then make minor modifications to customize the result.19
    • Barbara Lindsey
       
      This is the idea behind the MIT repository--remixing content to suit local needs.
  • As with content remixing, open access to materials is not just a matter of some charitable impulse to share knowledge with the world; it is a core requirement for participating in some of the most exciting and innovative activity on the Web.
  • "My Maps" functionality
  • For those still wondering what the value proposition is for offering an open API, Google's development process offers a compelling example of the potential rewards.
    • Barbara Lindsey
       
      Wikinomics
  • Elsewhere, it is difficult to point to significant activity suggesting that the mashup ethos is taking hold in academia the way it is on the wider Web.
  • Yet for the most part, the notion of the data mashup and the required openness is not even a consideration in discussions of technology strategy in higher educational institutions. "Data integration" across campus systems is something that is handled by highly skilled professionals at highly skilled prices.
  • Revealing how a more adventurous and inclusive online development strategy might look on campus, Raymond Yee recently posted a comprehensive proposal for his university (UC Berkeley), in which he outlined a "technology platform" not unlike the one employed by Amazon.com (http://aws.amazon.com/)—resources and access that would be invaluable for the institution's programmers as well as for outside interests to build complementary services.
  • All too often, college and university administrators react to this type of innovation with suspicion and outright hostility rather than cooperation.
  • those of us in higher education who observe the successful practices in the wider Web world have an obligation to consider and discuss how we might apply these lessons in our own contexts. We might ask if the content we presently lock down could be made public with a license specifying reasonable terms for reuse. When choosing a content management system, we might consider how well it supports RSS syndication. In an excellent article in the March/April 2007 issue of EDUCAUSE Review, Joanne Berg, Lori Berquam, and Kathy Christoph listed a number of campus activities that could benefit from engaging social networking technologies.26
  • What might happen if we allow our campus innovators to integrate their practices in these areas in the same way that social networking application developers are already integrating theirs? What is the mission-critical data we cannot expose, and what can we expose with minimal risk? And if the notion of making data public seems too radical a step, can APIs be exposed to selected audiences, such as on-campus developers or consortia partners?
Barbara Lindsey

Lead article: How did a couple of veteran classroom teachers end up in a space like thi... - 0 views

  • With social networking and media-sharing practices rapidly assuming a central role in our professional and personal lives, teachers have a responsibility to bring these practices into the classroom.
    • Barbara Lindsey
       
      Why responsibility? Even if it doesn't serve a pedagogical purpose? Advance the learning that is supposed to take place?
  • technology uber-fans gush over their embrace of every new gadget, technology and practice, affixing computer-driven activities onto factory-model teaching practices as shiny appendages, resulting in a ‘technology façade’
    • Barbara Lindsey
       
      Well, I would have a problem making a direct connection between über-fans and factory-model teaching proponents. I would like to think the über-fans lean more towards constructivist practices.
  • This does not mean that traditional literacies of critical reading, thinking and communication must make way for emerging literacies of collaboration, online communication and multimedia navigation. It does mean that we have to transform our teaching to accommodate them all effectively.
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  • a tension between their passions and interests and the Academy’s curricular obligations. When woven into the fabric of the classroom, blogs allow the participants to articulate their feelings as a way of addressing these tensions. As well, blogs provide a space where the participants’ interests and passions can bubble forth for the enrichment of the group.
  • By blogging effectively within classroom settings, we can mentor learner forays into public spaces.
  • We wish to emphasise the importance of distinguishing between using blogs as holders of factory-model teaching practices, and taking advantage of their connectivity and transparency to deepen and liberate learning from the confines of stagnant, teacher-centric models. Ignoring the transformative capabilities of connectivity, some teachers using blogs merely reproduce offline practices online. Limiting classroom blogging to one-way transactions of information and directives from teacher to learners may add convenience and efficiency to the classroom, but does nothing for learning itself. Nor does assigning and directing wooden, forced, framed discussions online, which result in little more than mind-numbing ‘busy work’. We belittle and infantalise our students, further rewarding docility and disengagement if we over-direct posts by giving minute instructions as to their content, number and direction.
  • classroom blogging,
  • focusing on emerging pedagogy rather than tools
  • We will examine hyperlinked slow-blogging as reflective learning; multimedia, interactive blogging as action-based learning; and connected, transparent blogging as social learning.
  • Reflection-through-writing is a powerful aid to information retention, which is poor unless the lesson is repeated in a variety of contexts
  • The learner, in the act of writing down what s/he has learned, solidifies understanding and reveals areas of confusion.
  • Traditionally this kind of reflective narrative, found in journals and portfolios, has helped learners gain skill at meta-discourse and take responsibility for learning in liberal arts contexts. Teachers follow progress and detect comprehension gaps while coming to know learners’ styles, contexts and preferences. Learner-teacher interactions through reflective writing can deepen important bonds, an important indicator of effective learning (Raider Roth 2005).
  • different kinds of learning contexts including vocational by inviting learners to contextualise the learning in their own way within personal experience, thereby making the learning their own (
    • Barbara Lindsey
       
      An aspect of constructivist teaching and learning.
  • But if limited to the kinds of practices achieved offline, while efficient and convenient, and affording keyboarding practice, this use ignores new literacies of connectivity, collaboration, communication and multimedia expression. It also leaves out learners for whom written reflection is not always optimal or possible.
  • Although a blog organises itself, ordinarily and on first view, in reverse chronological order, the latest post being most prominent, tagging and hyperlinking allow for more associative, lateral ways of organising and connecting thoughts. Even the novice learner can transcend the limits of time and linearity in linking nascent ideas, discoveries and meta-discourse on the learning, replacing ‘…the essentially linear, fixed methods that had produced the triumphs of capitalism and industrialism with what are essentially poetic machines that capture and create the anarchic brilliance of human imagination’
  • Learners can link to practices other than written as they struggle to articulate and thus retain and apply what they have learned. For example, some learners will naturally link to audio rather than to text files of their reflections; others will link to images they have taken that are reflective of the learning process and outcomes.
  • thereby extending the reflective practice into synthesis and analysis and invention
  • If we know we are being read, that our explorations have value out in the world, we tend to take more care with our expression and our thinking as communiqués to the Other as well as to the self.
  • From learner posts, the teacher can point to models and questions, to moments of creative and critical success. Learning deepens, writing strengthens: these successes in turn pull the writer back to the blog again and again, to reflect and to improve thinking and expression skills.
  • That these messages to the self (and by extension, to the class and the world) are archived by date and category (or tag) allows them to take their place in an ongoing narrative of the learning.
  • Linking out connects us to more than ourselves. So, in this time of crumbling communities and the cult of the individual, our learners can, through active hyperlinking within a reflective learning practice, become more self-aware rather than more self-absorbed.
  • In selecting media, learners gain critical awareness of the grammar of image and sound as well as language. They learn to evaluate the impact of visual media on their discipline, on their society and on their lives as they develop skill at understanding structure, the arc of an argument, the use of transitions.
    • Barbara Lindsey
       
      But don't learners need structured guidance in order to be able to do this successfully?
  • Hendrik and Ornberg have asserted, that ‘…audio is more effective than text for creating a sense of co-presence’
    • Barbara Lindsey
       
      Reactions to this statement?
  • Students learn the discipline by doing the discipline
  • Evie’s work on the web, and in turn catapulted one of our learners into the role of activist and advocate for a cause about which she cared deeply.
  • By the end of the semester, Evie was not only a committed and involved activist for women’s rights, but a published photographer.
  • And so, the apprentice became the master, the student became the teacher, and Sean’s blog is fulfilling by becoming a valued resource for a teacher in Argentina and for her students as well.
  • Her blogging world and her real world became forever ‘intertwingled’ when she started leaving comments on the blogs of some of the graffiti artists she was following, and they, in turn, left comments on her blog. What followed was a flurry of comments, Instant Messaging (IM) conversations, Skype (r) chats and blogposts each taking Claire ever closer to the very people she has studied and admired and analysed…from afar. After the class ended (and after Claire graduated) Claire’s interest in graffiti continued.
  • But just as in the case of Sean, Claire went from being the observer to participant and now to a creator of graffiti, thanks in part to the connections made via social software tools.
  • it is not difficult to see how a tool such as a blog can keep learners immersed in course content in a way that traditional, teacher and textbook-centric teaching simply cannot.
  • A third, and perhaps most significant, role for classroom blogs to play, then, is in social learning, in the forming of close bonds within the learning community itself and with the outside world. Blogs afford learners a strong sense of belonging to a dynamic learning collaborative, following the apprenticeship model of learning, in which everyone is expert and apprentice to one another
  • The job of the teacher using social software is to create an understanding in and amongst the participants that they need to work together as a social entity, as a collaborative group, that is linked to and communicating among themselves as well as with the world.
  • Student bloggers learn by collaborating with one another through online group projects and through discussions, both formal and informal, that spring up on a central course blog, what we call the ‘Motherblog’, and by linking to one another within their own blogs, and creating feedback loops through the commenting function. Students also learn from one another through the blog archives, which grow year by year. Although we still teach in a departmentalised, semesterised system, the archiving subverts the notion of isolated learning segments by carrying the blog’s accumulated wisdom from group to group, informing the new learners’ experiences by adding context, models and inspiration
  • And unlike a discussion board that might be hosted on a course management tool such as Blackboard, these multimedia posts and comments are archived, hyperlinked and are open and available to all and not just the class.
    • Barbara Lindsey
       
      Critical difference.
  • Learners and teachers bring into the community discussion their own expertise, prior learning, cultural perspectives. They can converse here about what interests them about what they are studying. This kind of informal discussion weaves the threads of collective intelligence, and it helps learners to think beyond the strict confines of the syllabus, seeing connections to themselves and the world.
  • The class uses Flickr to collect and share images to be used in image-only essays and reflections, and in multimedia texts.
    • Barbara Lindsey
       
      How interesting.
  • As Garrison and Anderson (2003) point out, ‘…a community of learners is an essential, core element of an educational experience when higher-order learning is the desired outcome’ (2003:22)
    • Barbara Lindsey
       
      A good rationale for collaborative engagement.
  • Using blogs as a complement to the face-to-face classroom environment not only provides more time on task for the learners, but if left open to world (as opposed to behind a firewall or a password or contained within the shell of a Learning Management System) these tools allow the real world - those crucial informal learning networks - into our classrooms…and the remarkable connections that happen as a result.
  • We can invite the outside world into the course intentionally, by asking experts in our field to participate in time-limited blog-based discussions with our learners. In these ‘blogging invitationals’ our learners can interact with professionals, joining the conversation of the real-world discipline in a meaningful way.
  • Other powerful connections with the world outside the classroom can occur through inter-classroom or inter-school blogging exchanges, or in service-learning initiatives, in which university learners, for example, mentor younger learners via connected blogging and feedback through comments, classroom to classroom, as writing buddies.
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.
anonymous

Confessions of a Podcast Junkie: A Student Perspective (EDUCAUSE Review) | EDUCAUSE - 3 views

  • My experience in creating podcasts came through much nobler endeavors. It began with a research project in the working-class neighborhoods of North Belfast and a frustrated conversation over pints in a pub. I was on a research high after an interview with two women of very different political backgrounds. They were friends, brought together by the work of a local nonprofit, and their mutual admiration shone from the lightning-fast banter that they tossed back and forth throughout the interview. It was clear to me that they were a perfect example of a friendship from different sides of the political divide. But my friend at the pub just couldn't get it. He suggested that their friendship might be contrived, a mere show for my benefit, or that if real, it didn't mean as much as I thought. Exasperated, I pulled out my recorder and played the conversation back to him. As their Belfast accents filled up our corner booth, I could see his posture slacken and the battle turn my way. In that moment, I decided that only a podcast could finish telling my story. Over the next months, armed with just an MP3 player and some freeware suggested by a friend, I worked to piece together the story of North Belfast through interviews, conversations, and the sounds of the streets. The result was crude, elementary, and slightly difficult to listen to. But I was hooked.
  • Student Use (and Misuse) of Podcast Technology
  • In fact, the iPod topped the list of the most "in" things on campus in 2006, according to Student Monitor's Lifestyle & Media Study.
    • Barbara Lindsey
       
      How many in our class own an iPod? Other mp3 player?
    • Inas Ayyoub
       
      I don't have any of them, but after studying and teaching in an American university , I feel it is one of the important things that I have to own!!
    • Kemen Zabala
       
      I own an iPod touch and I believe my cellphone is also part mp3 player
    • Barbara Lindsey
       
      I have 2
    • Blanca Garcia Valenzuela
       
      I have a mp3 player, not an iPod and, anyway, I do not see why iPods are so popular...
    • Catherine Ross
       
      I own an iPod but I never use it!
    • Celeste Arrieta
       
      I don't have an IPod
    • Celeste Arrieta
       
      You made very interesting comments, Inas! Congratulations!!
    • suzanne ondrus
       
      I own one but have yet to use it! :(
    • Christopher Laine
       
      Mine doesn't really work since I put it in the laundry. But I never used it much anyway because it's not compatible with .flac files.
  • ...14 more annotations...
  • transfer lectures and course material
  • "The good thing was that you could listen to a section over and over again if you wanted to review it," Clemen says. "There were a few podcasts that I had to review a couple of times. I could write out what he was saying and listen to what he was saying again." Reviewing came in handy, they all say, especially during project or exam times. "[With the podcasts], I've got more material to go back to if I wanted to review that module," Clemen says. "Whereas with the rest of the material, I just have some PowerPoint and my own notes."
  • The trick, students say, is to make sure that there is something to gain by attending class and downloading the lecture.
  • the material has to be relevant to the rest of the course. Otherwise, it's just a cool technology to have." Material should have a clear connection to the actual course, making a seamless transition between face time and the online realm.
  • Students stress the need to keep audio and video concise and engaging.
  • ust because a student totes an iPod on campus doesn't mean that the student is podcast-savvy.
  • "There aren't any time constraints. Your podcast doesn't have to be an exact amount of time. You have carte blanche to change the format and grow your show." He also helps capture audio from guest speakers so that the programs can be
  • n to the guest lectures while on the bus, at the gym, or in their dorm rooms. Still, Stein never felt the urge to skip class. "It was nice to know that if you missed class, you could record the lectures," she says. "But the iPod didn't encourage you to miss class. There's not a chalkboard that you can see or problems that you can see worked out. I think more people show up in a [podcasting] course because it encourages more interaction."
  • "It's much better than writing a paper. It's more interesting, much more fun, and much more creative. You get a lot of time to work on it, and it's more collaborative because you're working with other people. You're creating the performance as you go and then continuously working on it." Creating a podcast didn't mean less work, he says.
    • Barbara Lindsey
       
      Your thoughts?
    • suzanne ondrus
       
      This seems to go on the idea of trying to make one's class accessible to everyone. So with podcasts students with strong oral skills might excell.
    • Inas Ayyoub
       
      Still, we don't want students to end up with poor writing skills. So I guess with the help of other uses of technolog like wikis we can make writing papers more fun and help stdents improve that as well.
  • Though her goal was to increase learning for her peers in the anatomy course, she found that creating the material was a boon to her own learning. "As a student creating the podcasts, I had the chance to learn a lot more than I would have taking a course," she says. "It's about learning how to teach the material and how to make a narration out of it. You have this intimate knowledge of the material, and now you know how to show the different sides of an issue."
  • Besides the entertainment value, Westfall and Finnegan say that the podcasts were especially useful for reviewing material. They used the podcasts as refreshers throughout the semester and during exam time. In addition, creating a segment meant that they had to brush up on their own knowledge of the subject.
  • I don't want [the podcasts] to overlap with lectures too much; I still want people to go to the lecture. This is a very relaxed way to get the information to them. They can do it on their own time and download it whenever."
    • Inas Ayyoub
       
      Though the podcasts arre a great idea for reviewing materials and catching up on things you missed in a class, still they will result in having less and less face-to-face interaction which is still needed especially when learning languages. I guess students will be tempted to miss classes more and more , even though the article suggested that using podcasts will encourage them not to do so!!
  • Knowing my own podcast history, I had to wonder just how quickly the students were jumping on board. Armed with my same recorder—though it was now slightly rougher for the wear—I asked students at colleges and universities across North America about their iPod and MP3 use, their familiarity with podcasting, and just how they saw podcasting as part of the classroom.
  • Knowing my own podcast history, I had to wonder just how quickly the students were jumping on board. Armed with my same recorder—th
  •  
    "Besides the entertainment value, Westfall and Finnegan say that the podcasts were especially useful for reviewing material. They used the podcasts as refreshers throughout the semester and during exam time. In addition, creating a segment meant that they had to brush up on their own knowledge of the subject."
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.
  • ...44 more annotations...
  • out of those manifold ways of writing and showing have emerged new practices for telling stories.
  • Web 2.0 platforms are often structured to be organized around people rather than the traditional computer hierarchies of directory trees.
    • loisramirez
       
      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.
  •  
    By Bryan Alexander and Alan Levine
Barbara Lindsey

apophenia » Blog Archive » spectacle at Web2.0 Expo… from my perspective - 0 views

  •  
    Danah Boyd's Web 2.0 Expo talk and the backchannel fiasco
Chenwen Hong

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

shared by Chenwen Hong on 30 Apr 10 - Cached
  • One major advantage of egocentric perspectives is that they enable participants' actional immersion and motivation more strongly than exocentric FORs, which are better suited for dispassionate observer roles.
    • Chenwen Hong
       
      Can we say teaching through gaming is proving an egocentric FOR to course content?
    • Chenwen Hong
       
      I think teaching through gaming is proving an egocentric FOR to course content.
  • While the content of these games and activities often does not lead to knowledge useful in the real world, rich types of learning and identity formation do take place in these environments, fostering neomillennial learning styles based on characteristics of immersive mediated interaction.
    • Chenwen Hong
       
      Therefore, if we are to integrating gaming into the course, the content and activities then will have meanings and can be made useful in the real world.
  • Virtual identity unfettered by physical attributes such as gender, race, disabilities
    • Chenwen Hong
       
      I have doubts on this "unfettered" virtual identity, which has been mentioned earlier in this article. If avatars are created in terms of how we defines identities in real world, how come those physical attributes will disappear?
  • ...2 more annotations...
  • Multitasking among disparate experiences and information sources
    • Chenwen Hong
       
      Is this not proved to be less efficient and result in less successul acedmic performances?
  • These virtual worlds are persistent social and material worlds, loosely structured by open-ended (fantasy) narratives, where players are largely free to do as they please—slay ogres, siege castles, barter goods in town, or shake the fruit out of trees
    • Chenwen Hong
       
      While it is easy to confuse virtual life with real life, do we instructors play a role of teaching them to tell their differences as we are blending their real life into the virtual world in teaching? Or is there such a role?
Barbara Lindsey

Twitter's role in Bangkok conflict unprecedented - The Globe and Mail - 0 views

  • “We all become our own news wire service, breaking stories and events instantly. Did [tweets from inside Wat Pathum] prevent a massacre? Maybe they did. Who knows?” wrote Andrew Spooner, a London-based journalist who waded deep into the Thailand story from afar, tweeting about events from a decidedly pro-Red Shirt perspective.
  • That partisanship was the ugly side of Twitter’s role in the Thai crisis. While the social networking site did perhaps save lives in a few specific instances, Twitter – and the opportunity it gives to instantly broadcast whatever is on your mind, often from behind a cloak of near-anonymity – also gave Thais and foreigners living here the chance to broadcast vitriolic, often hateful, thoughts to the world, raising the temperature inside this already volatile country and arguably helping nudge the situation toward its violent end.
  • “More people will die inside Wat Patum unless we get ceasefire to get to hospital across the road,” I added a few minutes later, as my desperation grew. Within minutes, my pleas had indeed been retweeted hundreds, maybe thousands of times, in English, Thai and other languages. They were posted on the websites of Britain’s The Guardian newspaper and other international media. People I knew only through Twitter started calling me to check on our situation. More helpfully, others started calling embassies, hospitals and the Thai government. Eighty minutes later, I was carrying stretchers out to a row of waiting ambulances. “Twitter may just have done this,” was my next update.
  • ...1 more annotation...
  • “People were not really that interested in Twitter until Thaksin started using it,” said Ms. Poomjit, the Internet freedom activist. “He made it a trend.”
Barbara Lindsey

Cell Phones in the (Language) Classroom: Recasting the Debate (EDUCAUSE Quarterly) | ED... - 0 views

  • New Internet SMS and messaging services are proving especially useful to language teachers, turning the focus away from the particulars of language and writing and toward whole language oral output and pronunciation, even at the beginner level.
  • is the time to revisit and recast the debate over cell phones in education and to consider their relevance as engagement and assessment tools for foreign language teachers in particular.
  • And it is no longer only what takes place inside the classroom that needs debating. Paradigm shift also means embracing the notion that learning takes place in more collaborative, interactive ways and also — at least potentially — everywhere and (nearly) all the time.
  • ...11 more annotations...
  • The launch this year of Google Voice — representing as it does a free alternative or complement to costly language laboratory recording hardware and software — has profound and exciting implications for student engagement in general and the confluence of language instruction and cell phone technology in particular. The proliferation of cell phones among today’s students combined with the development of such new computer-mediated communication tools allows teachers to engage students in new ways in and out of the classroom.
  • My Google Voice number has served primarily as a messaging service students call (sometimes spontaneously during the instructional period, more often outside of the classroom) to record dialogues, poetry, even song, either individually or in pairs. These recordings are stored on Google servers, but can be downloaded and posted on course management pages (Moodle, Blackboard, Sakai, etc.) or podcasting, blogging, or social networking sites (I post particularly good recordings on my Spanish Facebook page).
  • maximizing student engagement during the class period is essential, as many students work and do not practice outside the classroom setting. Without getting into the debate over the front-end need for considerable comprehensible input, as a practical matter many students see paired work time (particularly in larger classes) as social time, which can lead to student-teacher conflict (no explanation needed).
  • for lower level classes I can instruct my students to form small groups and, within a given time frame, call my Google Voice number and record a narration of an illustration or picture sequence. In the higher level classes, I can ask groups to come up with a succinct recorded comparison/contrast analysis of two different perspectives (textual and/or auditory) on a given subject. Either way, embracing whole language oral output turns the focus from the particulars of language and writing to whole language and pronunciation. It also allows for efficient instructor identification of common problem points.
  • It is generally accepted that students work harder and become more engaged and invested in activities and assignments that might be publicly posted (on the Internet or otherwise). My own experience shows that students required to record speech of any kind in a computer laboratory setting spend considerable time preparing prior to recording. The very act of recording their voices — creating a permanent record of their speech — instilled a strong desire to perform well. In short, the act of recording increased students’ investment and engagement in the learning process.
  • on a post-recording survey of a Spanish 3 class of 21 students, I asked students to respond anonymously to the following survey question:“I practice my Spanish pronunciation before calling Google Voice… not at all once more than once repeatedly”A total of 89 percent of the 21 respondents answered either “b,” “c,” or “d,” with 26 percent responding “repeatedly.” Among the more entertaining and pertinent written comments offered on the anonymous survey were the following: “AHH!! I feel smart because I actually practice a lot before I call.” “It makes me nervous having to record, but I practice a lot to help me get over that.” “I do not do the Google Voice because I don’t want the whole class to hear me.”The final comment clearly referred to my tendency to play recordings for full class feedback — food for thought. Is that a motivating or inhibiting factor? It probably depends on the student.
  • A student who was frustrated at his performance in Spanish and was beginning to exhibit some anger management issues received the following Spanish translation of a Ralph Waldo Emerson quote via text message through Google Voice: Por cada minuto que estás enojado, pierdes sesenta segundos de felicidad. I did not supply a translation
  • The access that I had to that student combined with the ease and speed of communication presented by Google Voice solved more than a pronunciation problem; it likely helped me head off a building class management issue by engaging that student on his terms outside of the classroom setting.
  • “I have a student who hasn’t done any homework this quarter, and out of the blue he sent me a goofy text message to my Google Voice number — completely unrelated to Spanish — something like “I hate this rain”— and, being the nerdy teacher, I texted him immediately back in Spanish: “No me gusta la lluvia tampoco.” One day later, he walks in for the first time with his homework and makes a big production about turning it in. I can’t help but feel that the personal connection of texting helped him remember — and actually want to do — the work for my class.”
  • Surprisingly, these “irredeemably unreachable” students have proven highly receptive to the notion that their cell phones can and should be used for educational purposes. Figure 2, for example, shows a fairly typical SMS exchange on an oral homework assignment for intermediate level students. While not all students will text back when I supply SMS feedback, those that do, like this one, tend to be looking for specifics and positive reinforcement. How is this additional engagement and interaction bad?
  • Elite schools have spent vast sums of money on expensive language laboratory hardware and software as an approach to active engagement in the language learning process. They have provided their students with the latest and greatest in computer-assisted (language) learning and computer-mediated communication tools, at considerable cost.
    • Barbara Lindsey
       
      Why would you place students in an artificial environment with artificial activities instead of using technologies that are flexible and allow for authentic exchanges?
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