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Barbara Lindsey

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

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

Web 2.0: A New Wave of Innovation for Teaching and Learning? (EDUCAUSE Review) | EDUCAU... - 0 views

  • Web 2.0. It is about no single new development. Moreover, the term is often applied to a heterogeneous mix of relatively familiar and also very emergent technologies
  • Ultimately, the label “Web 2.0” is far less important than the concepts, projects, and practices included in its scope.
  • Social software has emerged as a major component of the Web 2.0 movement. The idea dates as far back as the 1960s and JCR Licklider’s thoughts on using networked computing to connect people in order to boost their knowledge and their ability to learn. The Internet technologies of the subsequent generation have been profoundly social, as listservs, Usenet groups, discussion software, groupware, and Web-based communities have linked people around the world.
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  • It is true that blogs are Web pages, but their reverse-chronological structure implies a different rhetorical purpose than a Web page, which has no inherent timeliness. That altered rhetoric helped shape a different audience, the blogging public, with its emergent social practices of blogrolling, extensive hyperlinking, and discussion threads attached not to pages but to content chunks within them. Reading and searching this world is significantly different from searching the entire Web world. Still, social software does not indicate a sharp break with the old but, rather, the gradual emergence of a new type of practice.
  • Rather than following the notion of the Web as book, they are predicated on microcontent. Blogs are about posts, not pages. Wikis are streams of conversation, revision, amendment, and truncation. Podcasts are shuttled between Web sites, RSS feeds, and diverse players. These content blocks can be saved, summarized, addressed, copied, quoted, and built into new projects. Browsers respond to this boom in microcontent with bookmarklets in toolbars, letting users fling something from one page into a Web service that yields up another page. AJAX-style pages feed content bits into pages without reloading them, like the frames of old but without such blatant seams. They combine the widely used, open XML standard with Java functions.3 Google Maps is a popular example of this, smoothly drawing directional information and satellite imagery down into a browser.
  • Web 2.0 builds on this original microcontent drive, with users developing Web content, often collaboratively and often open to the world.
  • openness remains a hallmark of this emergent movement, both ideologically and technologically.
  • Drawing on the “wisdom of crowds” argument, Web 2.0 services respond more deeply to users than Web 1.0 services. A leading form of this is a controversial new form of metadata, the folksonomy.
  • Third, people tend to tag socially. That is, they learn from other taggers and respond to other, published groups of tags, or “tagsets.”
  • First, users actually use tags.
  • Social bookmarking is one of the signature Web 2.0 categories, one that did not exist a few years ago and that is now represented by dozens of projects.
  • This is classic social software—and a rare case of people connecting through shared metadata.
  • RawSugar (http://www.rawsugar.com/) and several others expand user personalization. They can present a user’s picture, some background about the person, a feed of their interests, and so on, creating a broader base for bookmark publishing and sharing. This may extend the appeal of the practice to those who find the focus of del.icio.us too narrow. In this way too, a Web 2.0 project learns from others—here, blogs and social networking tools.
  • How can social bookmarking play a role in higher education? Pedagogical applications stem from their affordance of collaborative information discovery.
  • First, they act as an “outboard memory,” a location to store links that might be lost to time, scattered across different browser bookmark settings, or distributed in e-mails, printouts, and Web links. Second, finding people with related interests can magnify one’s work by learning from others or by leading to new collaborations. Third, the practice of user-created tagging can offer new perspectives on one’s research, as clusters of tags reveal patterns (or absences) not immediately visible by examining one of several URLs. Fourth, the ability to create multi-authored bookmark pages can be useful for team projects, as each member can upload resources discovered, no matter their location or timing. Tagging can then surface individual perspectives within the collective. Fifth, following a bookmark site gives insights into the owner’s (or owners’) research, which could play well in a classroom setting as an instructor tracks students’ progress. Students, in turn, can learn from their professor’s discoveries.
  • After e-mail lists, discussion forums, groupware, documents edited and exchanged between individuals, and blogs, perhaps the writing application most thoroughly grounded in social interaction is the wiki. Wiki pages allow users to quickly edit their content from within the browser window.11 They originally hit the Web in the late 1990s (another sign that Web 2.0 is emergent and historical, not a brand-new thing)
  • How do social writing platforms intersect with the world of higher education? They appear to be logistically useful tools for a variety of campus needs, from student group learning to faculty department work to staff collaborations. Pedagogically, one can imagine writing exercises based on these tools, building on the established body of collaborative composition practice. These services offer an alternative platform for peer editing, supporting the now-traditional elements of computer-mediated writing—asynchronous writing, groupwork for distributed members
  • Blogging has become, in many ways, the signature item of social software, being a form of digital writing that has grown rapidly into an influential force in many venues, both on- and off-line. One reason for the popularity of blogs is the way they embody the read/write Web notion. Readers can push back on a blog post by commenting on it. These comments are then addressable, forming new microcontent. Web services have grown up around blog comments, most recently in the form of aggregation tools, such as coComment (http://www.cocomment.com/). CoComment lets users keep track of their comments across myriad sites, via a tiny bookmarklet and a single Web page.
  • Technorati (http://technorati.com/) and IceRocket (http://icerocket.com/) head in the opposite direction of these sites, searching for who (usually a blogger) has recently linked to a specific item or site. Technorati is perhaps the most famous blog-search tool. Among other functions, it has emphasized tagging as part of search and discovery, recommending (and rewarding) users who add tags to their blog posts. Bloggers can register their site for free with Technorati; their posts will then be searchable by content and supplemental tags.
  • Many of these services allow users to save their searches as RSS feeds to be returned to and examined in an RSS reader, such as Bloglines (http://www.bloglines.com/) or NetNewsWire (http://ranchero.com/netnewswire/). This subtle ability is neatly recursive in Web 2.0 terms, since it lets users create microcontent (RSS search terms) about microcontent (blog posts). Being merely text strings, such search feeds are shareable in all sorts of ways, so one can imagine collaborative research projects based on growing swarms of these feeds—social bookmarking plus social search.
  • Students can search the blogosphere for political commentary, current cultural items, public developments in science, business news, and so on.
  • The ability to save and share a search, and in the case of PubSub, to literally search the future, lets students and faculty follow a search over time, perhaps across a span of weeks in a semester. As the live content changes, tools like Waypath’s topic stream, BlogPulse’s trend visualizations, or DayPop’s word generator let a student analyze how a story, topic, idea, or discussion changes over time. Furthermore, the social nature of these tools means that collaboration between classes, departments, campuses, or regions is easily supported. One could imagine faculty and students across the United States following, for example, the career of an Islamic feminist or the outcome of a genomic patent and discussing the issue through these and other Web 2.0 tools. Such a collaboration could, in turn, be discovered, followed, and perhaps joined by students and faculty around the world. Extending the image, one can imagine such a social research object becoming a learning object or an alternative to courseware.
  • A glance at Blogdex offers a rough snapshot of what the blogosphere is tending to pay attention to.
  • A closer look at an individual Blogdex result reveals the blogs that link to a story. As we saw with del.icio.us, this publication of interest allows the user to follow up on commentary, to see why those links are there, and to learn about those doing the linking. Once again, this is a service that connects people through shared interest in information.
  • The rich search possibilities opened up by these tools can further enhance the pedagogy of current events. A political science class could explore different views of a news story through traditional media using Google News, then from the world of blogs via Memeorandum. A history class could use Blogdex in an exercise in thinking about worldviews. There are also possibilities for a campus information environment. What would a student newspaper look like, for example, with a section based on the Digg approach or the OhmyNews structure? Thematizing these tools as objects for academic scrutiny, the operation and success of such projects is worthy of study in numerous disciplines, from communication to media studies, sociology to computer science.
  • At the same time, many services are hosted externally to academia. They are the creations of enthusiasts or business enterprises and do not necessarily embrace the culture of higher education.
  • Lawrence Lessig, J. D. Lasica, and others remind us that as tools get easier to use and practices become more widespread, it also becomes easier for average citizens to commit copyright violations.19
    • Barbara Lindsey
       
      Which is why he led the Creative Commons Movement and why he exhorts us to re-imagine copyright.
  • Web 2.0’s lowered barrier to entry may influence a variety of cultural forms with powerful implications for education, from storytelling to classroom teaching to individual learning. It is much simpler to set up a del.icio.us tag for a topic one wants to pursue or to spin off a blog or blog departmental topic than it is to physically meet co-learners and experts in a classroom or even to track down a professor. Starting a wiki-level text entry is far easier than beginning an article or book.
  • How can higher education respond, when it offers a complex, contradictory mix of openness and restriction, public engagement and cloistering?
  •  
    Web 2.0. It is about no single new development. Moreover, the term is often applied to a heterogeneous mix of relatively familiar and also very emergent technologies
Barbara Lindsey

2010 Horizon Report » Executive Summary - 0 views

  • The annual Horizon Report describes the continuing work of the New Media Consortium’s Horizon Project, a qualitative research project established in 2002 that identifies and describes emerging technologies likely to have a large impact on teaching, learning, or creative inquiry on college and university campuses within the next five years.
  • six emerging technologies or practices are described that are likely to enter mainstream use on campuses within three adoption horizons spread over the next one to five years.
  • In the seven years that the Horizon Project has been underway, more than 400 leaders in the fields of business, industry, technology, and education have contributed to this long-running primary research effort. They have drawn on a comprehensive body of published resources, current research and practice, their own considerable expertise, and the expertise of the NMC and ELI communities to identify technologies and practices that are beginning to appear on campuses or are likely to be adopted in the next few years.
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  • Each topic is introduced with an overview that describes what it is, followed by a discussion of the particular relevance of the topic to education, creativity, or research. Examples of how the technology is being, or could be applied to those activities are given. Finally, each section closes with an annotated list of suggested readings and additional examples that expand on the discussion in the report and a link to the tagged resources collected during the research process
  •  
    The annual Horizon Report describes the continuing work of the New Media Consortium's Horizon Project, a qualitative research project established in 2002 that identifies and describes emerging technologies likely to have a large impact on teaching, learning, or creative inquiry on college and university campuses within the next five years.
Chenwen Hong

Wiki Project Aims to Document the World's Public Art - Wired Campus - The Chronicle of ... - 0 views

  • But they don’t just write new articles, they also tag pre-existing entries
    • Chenwen Hong
       
      Thus this project not only exemplifies "the mob rule" by contrubuting knowledge, but it also embodies the hyperconnectivity by tagging those already exusting articles. This act of tagging instantaneously bring together the students at Indianna-Purdue with those who share the same concern over public art.
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    A Wiki project to digitize public art--Wikipedia Saves Public Art-- was started by Jennifer Geigel Mikulay, an assistant professor at Indiana-Purdue, together with Richard McCoy, an assistant conservator at the Indianapolis Museum of Art. 40 articles are added and another 912 already existing articles tagged.
  •  
    This Wiki project is the best example of what Mark Pesce emphasized in his talk: "a project of the mob, for the mob, and by the mob."
Barbara Lindsey

2008 Horizon Report » One Year or Less: Collaboration Webs - 0 views

  • A wide variety of webware applications exist to manage the creation and workflow of rich media projects
    • Barbara Lindsey
       
      How can this change the way your students learn and collaborate?
  • In contrast to productivity applications, which enable users to perform a specific task or create a particular product, collaborative workspaces are “places” where groups of people gather resources or information related to their personal or professional lives.
  • highly flexible
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  • these spaces conveniently lend themselves to almost seamless integration of content from other online resources, often quite transparently
  • They are easy to create, and they allow people to jointly collaborate on complex projects using low-cost, simple tools.
  • The essential attribute of the technologies in this set is that they make it easy for people to share interests and ideas, work on joint projects, and easily monitor collective progress. All of these are needs common to student work, research, collaborative teaching, writing and authoring, development of grant proposals, and more. Using them, groups can collaborate on projects online, anywhere there is Internet access; interim results of research can be shared among a team, supporting illustrations and tables created, and all changes and iterations tracked, documented, and archived. In class situations, faculty can evaluate student work as it progresses, leaving detailed comments right in the documents if desired in almost real time. Students can work with other students in distant locations, or with faculty as they engage in fieldwork.
  • Support needs are greatly reduced as nothing needs to be installed or upgraded.
  • A virtual collaborative workspace for a course or study group can be assembled quickly using tools, or widgets, that can pull information from a variety of sources
    • Barbara Lindsey
       
      This is the difference between a social network like Ning, and a CMS like HuskyCT
  • The same tools can be used to set up a personal portfolio where a student can display his or her work in any form—photos, blog posts, shared videos, and more can be pulled to the page by widgets that grab the student’s contributions on other sites.
    • Barbara Lindsey
       
      No proprietary, expensive, inflexible software 'solution' like our university's portfolio system...
  • Using similar approaches, online conferences and symposia can offer session archives that persist over time; simply request that participants use a particular tag when they post related content, and the widgets will continue to update the conference page as new content appears.
    • Barbara Lindsey
       
      What can this contribute to your conferences?
  • Instead of the campus LMS, the courses use Facebook as their primary interaction and information tool.
  • A course in Digital Entrepreneurship at Rochester Institute of Technology created a Ning network on the topic, bringing undergrads enrolled in the course into contact with over a hundred graduate students, venture capitalists, faculty, practitioners, and business owners around the world.
  • An educational technology course at George Mason University uses Pageflakes as the hub of a learning community. Content is dynamically assembled from a variety of timely sources, integrating it with student work from Flickr and other sources, all via RSS.
  • The Flat Classroom Project (flatclassroomproject.ning.com) uses a Ning workspace to create a sense of space that is shared by students located in the U.S. and in Qatar.
  • to allow faculty to collaborate on course materials and leverage one another’s work.
Barbara Lindsey

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

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

The Seeds of a Good Project | always learning - 0 views

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    A great in depth description of a collaborative classroom project using Voicethread to share student learning by Kim Cofino
Barbara Lindsey

Web 2.0: beyond the buzz words | 4 Jun 2007 | ComputerWeekly.com - 0 views

  • Lee Bryant, one of the founders of Headshift, says the network effect is the difference. Traditional applications, such as groupware, became slower the more people used them, he says. With Web 2.0 applications the reverse is true: the more people use them, the more effective they become.
  • “You influence each other, so that if you use a social tagging system, for example, themes start to emerge and other people pick up on them and you get these positive feedback loops. It is that difference that leads to the network effect.”
  • These technologies are mostly just HTML and Javascript web pages designed to offer a more streamlined user experience, sitting atop a relational data layer used to feed back user-contributed data in new ways.
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  • “We suddenly have enough bandwidth, memory and computing power around these net-centric platforms,” he says. This means that the “people-to-people” concept that Web 1.0 wanted to accomplish can be supported, but with software interfaces that make it easier to contribute.
  • Seely Brown’s project-by-project approach is well-advised. “Start by putting together a decent collection of RSS feeds relevant to your project,” says Bryant. Then, enabling the posting and sharing of bookmarks will help glean knowledge from the project team. Complementing this with blogs will enable people to spend more time on those elements from the bookmarks and feeds that are particularly relevant and need further articulation.
  • Understanding the difference between consuming newsfeeds and consuming e-mail demonstrates a wider cultural shift that needs to take place in Web 2.0-savvy organisations. Generally, e-mails demand focused attention. They are processed in sequence and each takes a couple of minutes (or more) from your day. Handling newsfeeds and blog posts in that way would make you unproductive, says Bryant. They require a “river of news” approach, in which workers skim large amounts of information for helpful nuggets. Social tagging helps to naturally elevate certain topics above others by making them more popular.Finally, a wiki will help escalate blog discussion to more collaborative working, as needed. This has certainly been Ward’s experience: “The way the sites tend to work is that the blog is where people have a dialogue, but if it moves into more detailed work, it moves into the wiki,” she says.
Barbara Lindsey

Taking Diigo Beyond the Bookmark - 0 views

  • Any writer knows the value of good research and with Diigo the process just got easier. Here’s a couple of ideas: tag items based on chapter, subject tag items for a bibliography jot a few notes to give context or your thoughts at the time highlight the section you intend to use and save the time of reviewing the entire page Diigo becomes even more essential in a collaboration project. The Forrester team used Delicious during their research for the book  Groundswell and I bet they could have used Diigo features like highlighting, comments, groups, and conversations.
  • tag recipes as appetizers, entrees, or desserts tag as vegetarian, diet, gluten free, or my favorite “enough-calories-to-make-Paula-Deen-blush” disclosure: the above link leads to my wife food blog MakeLifeDelicious.com, it’s the greatest food blog on earth #unbiased tag by ingredients highlight cooking times and pics
  • I love Diigo too. My son (10 years old) is working on his IB Exhibition on Water Pollution. He is working as part of a team. I helped them create a group for their topic so that they and their teacher can add resources, highlight text and tag interesting facts about the subject from home. Also, I am in a master's in education media design and am using Diigo to organize my resources for my Action Research project. Diigo is a great tool. Thanks for posting.
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  • A real revelation for us, however, has been to use Diigo for internal staff communication. I've set up a News group for people to share any useful careers-related articles they come across. We also have various Jobs/Scholarships groups to share relevant graduate vacancies we find. The RSS feeds from these then post to Twitter and our own Jobs and Further Study pages. Saves a lot of time entering the details into our own database and gets the information to our students and graduates quicker. Hopefully! It also keeps staff abreast with up-to-date jobs information. Diigo is great!
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    Writers Any writer knows the value of good research and with Diigo the process just got easier. Here's a couple of ideas: tag items based on chapter, subject tag items for a bibliography jot a few notes to give context or your thoughts at the time highlight the section you intend to use and save the time of reviewing the entire page Diigo becomes even more essential in a collaboration project. The Forrester team used Delicious during their research for the book  Groundswell and I bet they could have used Diigo features like highlighting, comments, groups, and conversations.
Barbara Lindsey

Twitter for Teachers Workshop - Additional Links | Kirsten Winkler - 0 views

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    A wiziq session with three faculty who describe their use of twitter. Enza Antenos Conforti describes her Italian language learning project using Twitter. Includes project assessment.
Barbara Lindsey

2010 Horizon Report » The Horizon Project - 0 views

  • ongoing series of conversations and dialogs with hundreds of technology professionals, campus technologists, faculty leaders from colleges and universities, and representatives of leading corporations from more than two dozen countries. In each of the past six years, these conversations have resulted in the publication each January of a report focused on emerging technologies relevant to higher education.
  • When the cycle starts, little is known, or even can be known, about the appropriateness or efficacy of many of the emerging technologies for these purposes, as the Horizon Project expressly focuses on technologies not currently in widespread use in academe. In a typical year, 75 or more of these technologies may be identified for further investigation; for the 2010 report, more than 110 were considered
  • By engaging a wide community of interested parties, and diligently searching the Internet and other sources, enough information is gathered early in the process to allow the members of the Advisory Board to form an understanding of how each of the discovered technologies might be in use in settings outside of academe, to develop a sense of the potential the technology may have for higher education settings, and to envision applications of the technology for teaching, learning, and creative inquiry. The findings are discussed in a variety of settings — with faculty, industry experts, campus technologists, and of course, the Horizon Advisory Board. Of particular interest to the Advisory Board every year is finding educational applications for these technologies that may not be intuitive or obvious.
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  • ncreasingly the Horizon Project is a global effort. Each year at least a third of the members of the advisory board represent countries outside of North America.
  • Each Horizon Report is produced over a period of just a few months so that the information is timely and relevant.
Barbara Lindsey

netgened2010 - home - 0 views

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    Julie Lindsay and Vicki Davis' Flatclassroom project wiki for netgen2010 project
Barbara Lindsey

"Lady Gaga" French Revolution (Bad Romance) School Project - 0 views

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    A mashup of a mashup. School project.
Barbara Lindsey

'A Week in the Life...' Project - Flat Classroom® Projects - 0 views

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    Need to find out if cost associated with this
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