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Barbara Lindsey

Shirky: A Group Is Its Own Worst Enemy - 1 views

  • April 24, 2003
  • I want to talk about a pattern I've seen over and over again in social software that supports large and long-lived groups.
  • definition of social software
  • ...59 more annotations...
  • It's software that supports group interaction
  • how radical that pattern is. The Internet supports lots of communications patterns, principally point-to-point and two-way, one-to-many outbound, and many-to-many two-way.
  • Prior to the Internet, the last technology that had any real effect on the way people sat down and talked together was the table.
  • We've had social software for 40 years at most, dated from the Plato BBS system, and we've only had 10 years or so of widespread availability, so we're just finding out what works. We're still learning how to make these kinds of things.
  • If it's a cluster of half a dozen LiveJournal users, on the other hand, talking about their lives with one another, that's social. So, again, weblogs are not necessarily social, although they can support social patterns.
  • So email doesn't necessarily support social patterns, group patterns, although it can. Ditto a weblog. If I'm Glenn Reynolds, and I'm publishing something with Comments Off and reaching a million users a month, that's really broadcast.
  • So there's this very complicated moment of a group coming together, where enough individuals, for whatever reason, sort of agree that something worthwhile is happening, and the decision they make at that moment is: This is good and must be protected. And at that moment, even if it's subconscious, you start getting group effects. And the effects that we've seen come up over and over and over again in online communities.
  • You are at a party, and you get bored. You say "This isn't doing it for me anymore. I'd rather be someplace else.
  • The party fails to meet some threshold of interest. And then a really remarkable thing happens: You don't leave.
  • That kind of social stickiness is what Bion is talking about.
  • Twenty minutes later, one person stands up and gets their coat, and what happens? Suddenly everyone is getting their coats on, all at the same time. Which means that everyone had decided that the party was not for them, and no one had done anything about it, until finally this triggering event let the air out of the group, and everyone kind of felt okay about leaving.
  • This effect is so steady it's sometimes called the paradox of groups.
  • what's less obvious is that there are no members without a group.
  • there are some very specific patterns that they're entering into to defeat the ostensible purpose of the group meeting together. And he detailed three patterns.
  • The first is sex talk,
  • second basic pattern
  • The identification and vilification of external enemies.
  • So even if someone isn't really your enemy, identifying them as an enemy can cause a pleasant sense of group cohesion. And groups often gravitate towards members who are the most paranoid and make them leaders, because those are the people who are best at identifying external enemies.
  • third pattern Bion identified: Religious veneration
  • The religious pattern is, essentially, we have nominated something that's beyond critique.
  • So these are human patterns that have shown up on the Internet, not because of the software, but because it's being used by humans. Bion has identified this possibility of groups sandbagging their sophisticated goals with these basic urges. And what he finally came to, in analyzing this tension, is that group structure is necessary. Robert's Rules of Order are necessary. Constitutions are necessary. Norms, rituals, laws, the whole list of ways that we say, out of the universe of possible behaviors, we're going to draw a relatively small circle around the acceptable ones.
  • He said the group structure is necessary to defend the group from itself. Group structure exists to keep a group on target, on track, on message, on charter, whatever. To keep a group focused on its own sophisticated goals and to keep a group from sliding into these basic patterns. Group structure defends the group from the action of its own members.
  • technical and social issues are deeply intertwined. There's no way to completely separate them.
  • Some of the users wanted the system to continue to exist and to provide a forum for discussion. And other of the users, the high school boys, either didn't care or were actively inimical. And the system provided no way for the former group to defend itself from the latter.
  • What matters is, a group designed this and then was unable, in the context they'd set up, partly a technical and partly a social context, to save it from this attack from within. And attack from within is what matters.
  • This pattern has happened over and over and over again. Someone built the system, they assumed certain user behaviors. The users came on and exhibited different behaviors. And the people running the system discovered to their horror that the technological and social issues could not in fact be decoupled.
  • nd the worst crisis is the first crisis, because it's not just "We need to have some rules." It's also "We need to have some rules for making some rules." And this is what we see over and over again in large and long-lived social software systems. Constitutions are a necessary component of large, long-lived, heterogenous groups.
  • As a group commits to its existence as a group, and begins to think that the group is good or important, the chance that they will begin to call for additional structure, in order to defend themselves from themselves, gets very, very high.
  • The downside of going for size and scale above all else is that the dense, interconnected pattern that drives group conversation and collaboration isn't supportable at any large scale. Less is different -- small groups of people can engage in kinds of interaction that large groups can't. And so we blew past that interesting scale of small groups. Larger than a dozen, smaller than a few hundred, where people can actually have these conversational forms that can't be supported when you're talking about tens of thousands or millions of users, at least in a single group.
  • So the first answer to Why Now? is simply "Because it's time." I can't tell you why it took as long for weblogs to happen as it did, except to say it had absolutely nothing to do with technology. We had every bit of technology we needed to do weblogs the day Mosaic launched the first forms-capable browser. Every single piece of it was right there. Instead, we got Geocities. Why did we get Geocities and not weblogs? We didn't know what we were doing.
  • It took a long time to figure out that people talking to one another, instead of simply uploading badly-scanned photos of their cats, would be a useful pattern. We got the weblog pattern in around '96 with Drudge. We got weblog platforms starting in '98. The thing really was taking off in 2000. By last year, everyone realized: Omigod, this thing is going mainstream, and it's going to change everything.
  • Why was there an eight-year gap between a forms-capable browser and the Pepys diaries? I don't know. It just takes a while for people to get used to these ideas. So, first of all, this is a revolution in part because it is a revolution. We've internalized the ideas and people are now working with them. Second, the things that people are now building are web-native.
  • A weblog is web-native. It's the web all the way in. A wiki is a web-native way of hosting collaboration. It's lightweight, it's loosely coupled, it's easy to extend, it's easy to break down. And it's not just the surface, like oh, you can just do things in a form. It assumes http is transport. It assumes markup in the coding. RSS is a web-native way of doing syndication. So we're taking all of these tools and we're extending them in a way that lets us build new things really quickly.
  • Third, in David Weinberger's felicitous phrase, we can now start to have a Small Pieces Loosely Joined pattern.
  • You can say, in the conference call or the chat: "Go over to the wiki and look at this."
  • It's just three little pieces of software laid next to each other and held together with a little bit of social glue. This is an incredibly powerful pattern. It's different from: Let's take the Lotus juggernaut and add a web front-end.
  • And finally, and this is the thing that I think is the real freakout, is ubiquity.
  • In many situations, all people have access to the network. And "all" is a different kind of amount than "most." "All" lets you start taking things for granted.
  • But for some groups of people -- students, people in high-tech offices, knowledge workers -- everyone they work with is online. Everyone they're friends with is online. Everyone in their family is online.
  • And this pattern of ubiquity lets you start taking this for granted.
  • There's a second kind of ubiquity, which is the kind we're enjoying here thanks to Wifi. If you assume whenever a group of people are gathered together, that they can be both face to face and online at the same time, you can start to do different kinds of things. I now don't run a meeting without either having a chat room or a wiki up and running. Three weeks ago I ran a meeting for the Library of Congress. We had a wiki, set up by Socialtext, to capture a large and very dense amount of technical information on long-term digital preservation.
  • The people who organized the meeting had never used a wiki before, and now the Library of Congress is talking as if they always had a wiki for their meetings, and are assuming it's going to be at the next meeting as well -- the wiki went from novel to normal in a couple of days.
  • It really quickly becomes an assumption that a group can do things like "Oh, I took my PowerPoint slides, I showed them, and then I dumped them into the wiki. So now you can get at them." It becomes a sort of shared repository for group memory. This is new. These kinds of ubiquity, both everyone is online, and everyone who's in a room can be online together at the same time, can lead to new patterns.
  • "What is required to make a large, long-lived online group successful?" and I think I can now answer with some confidence: "It depends."
  • The normal experience of social software is failure. If you go into Yahoo groups and you map out the subscriptions, it is, unsurprisingly, a power law. There's a small number of highly populated groups, a moderate number of moderately populated groups, and this long, flat tail of failure. And the failure is inevitably more than 50% of the total mailing lists in any category. So it's not like a cake recipe. There's nothing you can do to make it come out right every time.
  • Of the things you have to accept, the first is that you cannot completely separate technical and social issues.
  • So the group is real. It will exhibit emergent effects. It can't be ignored, and it can't be programmed, which means you have an ongoing issue. And the best pattern, or at least the pattern that's worked the most often, is to put into the hands of the group itself the responsibility for defining what value is, and defending that value, rather than trying to ascribe those things in the software upfront.
  • Members are different than users. A pattern will arise in which there is some group of users that cares more than average about the integrity and success of the group as a whole. And that becomes your core group, Art Kleiner's phrase for "the group within the group that matters most."
  • But in all successful online communities that I've looked at, a core group arises that cares about and gardens effectively. Gardens the environment, to keep it growing, to keep it healthy.
  • The core group has rights that trump individual rights in some situations
  • And absolute citizenship, with the idea that if you can log in, you are a citizen, is a harmful pattern, because it is the tyranny of the majority. So the core group needs ways to defend itself -- both in getting started and because of the effects I talked about earlier -- the core group needs to defend itself so that it can stay on its sophisticated goals and away from its basic instincts.
  • All groups of any integrity have a constitution. The constitution is always partly formal and partly informal. A
  • If you were going to build a piece of social software to support large and long-lived groups, what would you design for? The first thing you would design for is handles the user can invest in.
  • Second, you have to design a way for there to be members in good standing. Have to design some way in which good works get recognized. The minimal way is, posts appear with identity.
  • Three, you need barriers to participation.
  • It has to be hard to do at least some things on the system for some users, or the core group will not have the tools that they need to defend themselves.
  • The user of social software is the group, not the individual.
  • Reputation is not necessarily portable from one situation to another
  • If you want a good reputation system, just let me remember who you are. And if you do me a favor, I'll remember it. And I won't store it in the front of my brain, I'll store it here, in the back. I'll just get a good feeling next time I get email from you; I won't even remember why. And if you do me a disservice and I get email from you, my temples will start to throb, and I won't even remember why. If you give users a way of remembering one another, reputation will happen,
Barbara Lindsey

What is Pivot? - 0 views

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    Pivot makes it easier to interact with massive amounts of data in ways that are powerful, informative, and fun. We tried to step back and design an interaction model that accommodates the complexity and scale of information rather than the traditional structure of the Web.
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

A New First In Mobile: Data Traffic Outstripped Voice Traffic Last Year | paidContent - 0 views

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    On a global scale, data traffic exceeds voice traffic on mobile phones.
Barbara Lindsey

YouTube - OASIS: Playing Lego with Kinect style camera and interactive projector system - 0 views

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    This is what Cindy Kendall says about this: magine creating a 3D world in your classroom where students interact, where objects can have interactive properties and can be manipulated, and you can interact with each other and those objects; the next 5 years are going to be very interesting! OK, I know this can be done with real objects now if you have them - but - I'm thinking of the scaling potential as well as simulations for objects in areas such as biology, chemistry, physics, etc. Play and problem solving in immersive 3D/4D environments... Kinnect is going to have some awesome classroom applications, and when it goes 3D...
Barbara Lindsey

Syntax Untangler | University of Wisconsin-Madison - 1 views

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

What we learned from 5 million books | Video on TED.com - 0 views

    • Barbara Lindsey
       
      From YouTube version of this talk: "[Google's digtized books] are very practical and extremely awesome." Erez Lieberman Aiden and Jean-Baptiste Michel from Harvard University use the 15 million books scanned and digitized by Google to show how a visual and quantitative analysis of text can provide insights about fields as diverse as lexicography, the evolution of grammar, collective memory, the adoption of technology, the pursuit of fame, censorship, and historical epidemiology.
  • ELA: There are more sobering notes among the n-grams. For instance, here's the trajectory of Marc Chagall, an artist born in 1887. And this looks like the normal trajectory of a famous person. He gets more and more and more famous, except if you look in German. If you look in German, you see something completely bizarre, something you pretty much never see, which is he becomes extremely famous and then all of a sudden plummets, going through a nadir between 1933 and 1945, before rebounding afterward. And of course, what we're seeing is the fact Marc Chagall was a Jewish artist in Nazi Germany. Now these signals are actually so strong that we don't need to know that someone was censored. We can actually figure it out using really basic signal processing. Here's a simple way to do it. Well, a reasonable expectation is that somebody's fame in a given period of time should be roughly the average of their fame before and their fame after. So that's sort of what we expect. And we compare that to the fame that we observe. And we just divide one by the other to produce something we call a suppression index. If the suppression index is very, very, very small, then you very well might be being suppressed. If it's very large, maybe you're benefiting from propaganda.
  • Now when Google digitizes a book, they put it into a really nice format. Now we've got the data, plus we have metadata. We have information about things like where was it published, who was the author, when was it published. And what we do is go through all of those records and exclude everything that's not the highest quality data. What we're left with is a collection of five million books, 500 billion words, a string of characters a thousand times longer than the human genome -- a text which, when written out, would stretch from here to the Moon and back 10 times over -- a veritable shard of our cultural genome.
  • ...4 more annotations...
  • we're going to release statistics about the books. So take for instance "A gleam of happiness." It's four words; we call that a four-gram. We're going to tell you how many times a particular four-gram appeared in books in 1801, 1802, 1803, all the way up to 2008. That gives us a time series of how frequently this particular sentence was used over time. We do that for all the words and phrases that appear in those books, and that gives us a big table of two billion lines that tell us about the way culture has been changing.
  • You might also want to have a look at this particular n-gram, and that's to tell Nietzsche that God is not dead, although you might agree that he might need a better publicist.
  • JM: Now you can actually look at the distribution of suppression indexes over whole populations. So for instance, here -- this suppression index is for 5,000 people picked in English books where there's no known suppression -- it would be like this, basically tightly centered on one. What you expect is basically what you observe. This is distribution as seen in Germany -- very different, it's shifted to the left. People talked about it twice less as it should have been. But much more importantly, the distribution is much wider. There are many people who end up on the far left on this distribution who are talked about 10 times fewer than they should have been. But then also many people on the far right who seem to benefit from propaganda. This picture is the hallmark of censorship in the book record.
  • ELA: So culturomics is what we call this method. It's kind of like genomics. Except genomics is a lens on biology through the window of the sequence of bases in the human genome. Culturomics is similar. It's the application of massive-scale data collection analysis to the study of human culture. Here, instead of through the lens of a genome, through the lens of digitized pieces of the historical record. The great thing about culturomics is that everyone can do it. Why can everyone do it? Everyone can do it because three guys, Jon Orwant, Matt Gray and Will Brockman over at Google, saw the prototype of the Ngram Viewer, and they said, "This is so fun. We have to make this available for people." So in two weeks flat -- the two weeks before our paper came out -- they coded up a version of the Ngram Viewer for the general public. And so you too can type in any word or phrase that you're interested in and see its n-gram immediately -- also browse examples of all the various books in which your n-gram appears.
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    fall 2012 syllabus
Barbara Lindsey

A Texting Communications Exercise « User Generated Education - 1 views

  • This activity is an adaptation of the Back-to-Back Communications Exercise.  Students found a partner.  One volunteered to give the directions, the other to be the drawer.  They exchanged phone numbers and the drawers went to another room.  The direction givers were provided with the following drawing and told to text in words (one student asked if he could send a picture) the description of the drawing.  The goal was for the drawer to reproduce the drawing to scale.
    • Barbara Lindsey
       
      Could a personalized (for you and your students) version of this activity be used as an authentic assessment? Any questions? Comments? Concerns?
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.
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    Discuss this in class
Barbara Lindsey

Beyond Campus Boundaries ePortfolio Transforms into 'Cultural Application' -- Campus Te... - 0 views

  • 08/09/05
    • Barbara Lindsey
       
      It's five years hence--do you see any evidence of large-scale portfolio adoption at your institution?
  • It’s a cultural application
  • ePortfolios
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  • What’s happening with universities in this knowledge age is that the boundaries between the university and the rest of the world have pretty much dissolved. We are now a learning culture, or a knowledge culture.
  • It’s something that whole countries are offering to their citizens to store things related to their work, over a career or over the time when they are developing their career.
  • what’s driving the market in the US is assessment management.
  • universities—especially schools of education around the country—are rushing to implement ePortfolio systems so that they can do the kind of reporting the accrediting agencies are asking for.
  • The big market is going to be everyone having an ePortfolio, whether they are in college or not in college
  •  
    2005 interview w/Trent Batson, who talks about ePortfolio use in U.S. institutions of higher ed.
Barbara Lindsey

FRONTLINE: digital nation: henry jenkins response to mark bauerlein | PBS - 0 views

  • let me say another word or two about our friend, the student who thinks he can read Romeo and Juliet in 10 minutes. It seems to me that he has a lot in common with educational policy makers who think that the experience of reading the book can be reduced to a small number of items on a standardized test. Both have an instrumental understanding of reading and learning which sees learning as a product and has not respect for the process of really engaging deeply with the literary experience. In many ways, the student's attitude is a byproduct of the current structure of education as much as it is a byproduct of the instant gratification promised by digital culture. As someone who has been involved in the last year with a project which seeks to model ways we can teach Moby-Dick in contemporary schools, I can tell you the resistance we've gotten from some teachers comes at both levels. Yes, some teachers don't think their students have the attention span to deal with a novel of this length and complexity but many more simply say that they don't think they have time to teach a novel of such richness if they are going to stay on track and review all of the content they are supposed to cover under the new national standards. Both push back against a depth of experience and the student may simply trying to act efficiently to give the teachers what they want on the test. As someone who loves literature, both sides of this equation break my heart.
  • what the gamers are doing in the Korean Bong is better described as intense concentration, entering a state of flow, rather than multitasking per se. A growing body of work has stressed the kinds of active problem solving which surrounds the play of certain kinds of games, the collaboration which occurs through certain forms of participatory culture, etc. as other ways of engaging with the online world. To me, there's something reductive about continuing to return to issues of multitasking when depicting Katie Salen's game school for example. Katie's approach is not about turning students lose on the computer; it is about teaching them to look at the world as a complex system and developing skills as designers. In my White Paper for MacArthur, I identify multitasking as a skill -- but I don't mean by this what young people think they are doing when they talk about multitasking. I mean the ability to manage attention -- sometimes concentrating on a single text or problem, sometimes scanning the environment to form a hazier understanding of the bigger picture, much as a driver needs to keep their eyes on the road in front of them but also needs to scan the rear view mirror. I think schools have a role to play in helping young people sharpen their understanding of which mode of engagement is appropriate for different tasks and contexts.
  • The goal shouldn't be to decide if computers are good or bad. Our goal should be to identify what a more constructive relationship to this technology might look like and to insure that those skills and practices get transmitted to a broader segment of the population.
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  • I also think that they should report the diverse range of cultural practices which emerged from the Digital Youth team's large scale ethnography of teen's on-line lives and the kinds of practices which seem to support robust informal learning outside the classroom. Unfortunately, this research ended up on the cutting room floor. Some of it is on the web. None of it is in the program.
Chenwen Hong

YouTube Launches Auto-Captioning for Videos - 0 views

  • ouTube, Google, Stanford, Berkeley, and the California School for the Deaf (CSD) are about to speak on YouTube and accessibility.
  • Now the Google Speech Technology team is speaking about the challenges they faced to get auto-captioning operational. Their vision was to create accurate captions for all videos in all languages, but had to deal with huge vocabularies, background noise, poor recordings, accent variability, and distinguishing between song and speech.- Google’s approach is to deliver captions from the cloud, given them the ability to rapidly iterate and model at a large scale.
  • You can only caption your own videos — you can’t just caption someone else’s videos.
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  • You can see the full caption file with timestamps and even download them as a text document. You can also upload your own captions as its own track — useful if auto-captioning isn’t doing the job or to make edits to the auto-captioned text.
  • With auto-captioning, these people can simply use text-based search to find what they need.
    • Chenwen Hong
       
      This means auto-captioning works well as an index for videos. One of its strengths, particularly for us instructors, can be that it helps us effeciently locate relevant clips of videos. This function should also be helpful to our students because we can add notes into the clips at specific frames. Well, the downside is that one might misinterpret videos or misunderstand creators' intentions when using only parts of the videos to suit one's own purposes.
  • You can specify search only brings up videos with closed captioning (it shows the cc icon in search). In the past, when he was at MIT, he couldn’t understand lectures because he had no sign interpreter. Now he can use the captioning to watch lectures he missed.
  • Now students of the California School for the Deaf are speaking (sign language) on how they feel not excluded anymore from the major phenomenon of web video and are grateful to Google for building this technology.
Barbara Lindsey

News: The Mobile Campus - Inside Higher Ed - 0 views

  • Powell’s experiment, however, demonstrates the current limitations of Abilene Christian’s mobile learning study. Because the experiment took place on such a small scale, the margins of error were sometimes as high as 13 points, making it impossible to render statistically significant findings.
  • Although the university plans to saturate the 4,000-student campus with iPhones and iPod Touches by the fourth year of the study (giving them out to each incoming class), even then it will be difficult to extract good data, said Perkins, the lead researcher. “We could do this study for 10 years, and then maybe we could talk about statistical significance,” he said. “That’s just simply a function of the sample size.” In order to generate data that would comment widely on the uses and effectiveness of mobile technology on campuses, Perkins added, the study would have to partner with other institutions.
  • Since not all the students could necessarily afford AT&T service plans for their iPhones, and U.S. tax law would not permit the university to subsidize service plans for its students, Abilene Christian offered students the alternative of an iPod Touch — a device that shares many of the iPhone’s functions, but requires a wireless network to support Web-surfing.
Barbara Lindsey

A Fairy Tale? « Larry Cuban on School Reform and Classroom Practice - 0 views

  • what they had learned in school did not prepare them to face the problems of life, think clearly, be creative, or fulfill their civic duties.
  • So to give high schools the freedom to try new ways of schooling in a democracy, a small band of reformers convinced the best universities to waive their admission requirements and accept graduates from high schools that designed new programs.
  • Between 1933-1941, thirty high schools in the country and over 300 universities and colleges joined the experiment sponsored by the Progressive Education Association.
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  • Called “The Eight Year Study,” each high school decided for itself what curricula, schedules, and class sizes would be. There were no college admission requirements or must-take tests. Old lesson plans were scrapped. One school sent classes into the West Virginia coal region to study unions. Science, history, art, and math were often combined in projects that students and teachers planned together.
  • A few principals blocked the experiment. Some school faculties divided into warring factions.
  • While there was much variation among the schools, there were also common elements. Many of the large public high schools (of the 30, fifteen were private) created small schools within the larger one. Principals increased the authority of teachers to design and steer the program; teachers crossed departmental boundaries and created a core curriculum (math/science and English/social studies), set aside three hours a day for teams to work with groups of students, and planned weekly units with students.
  • evaluators established 1,475 pairs of college students, each consisting of a graduate from an experimental school and one graduate of another high school matched as closely as possible as to age, sex, race, social class, and academic performance. They then compared their performance in college.
  • Evaluators found that graduates of the thirty schools earned a slightly higher grade average and more academic honors than those who attended regular high school. Furthermore, the “guinea pigs,” as they were called, were more precise in their thinking, displayed more ingenuity in meeting new situations, and demonstrated an active interest in national and world issues than their matched counterpart.
  • results showed over 70 years ago was that there was no one single best way of schooling teenagers.
  • Later generations of reformers seldom inquired or cared about this large-scale, non-federally funded experiment that showed convincingly that schools, given the freedom to experiment, could produce graduates that not only did well academically in college but, far more important, displayed an active interest in civic affairs, were resourceful in handling new situations, and could think clearly.
  • 1. When engaged teachers, administrators, and students are given the freedom to experiment and the help to do it, they will come through. 2. There is no one best way of schooling youth. 3. Students can graduate high school who are academically engaged, involved in their communities, and thoughtful problem-solvers. 4. Standards of excellence that work in schools are those that are set and done locally by adults and students—not imposed from the top-down.
Barbara Lindsey

Can Higher Education Be Fixed? The Innovative University - Forbes - 0 views

  • Harvard has invested heavily in a system of residential housing and high-quality tutoring.  This means that even students who pay the tuition sticker price aren’t covering the full cost of their education.  Thus, growing the size of its “customer” base, which is how businesses achieve scale economies and greater profitability, is financially problematic for Harvard and for other universities with similar operating models. 
  • What is the purpose of a university as depicted in this book? Is it: A. A university is an institution that provides a degree, which is a credential or screening device for the economy and for society? Or B.  A university is an institution in which people acquire the knowledge they need for a particular job? Or C.  A university is an institution in which people acquire the knowledge they need to be a citizen? Or D.  A university is an experience where you acquire a capacity to be a lifelong learner (because most of the knowledge you acquire will be obsolete within a few years and the jobs of tomorrow will not be the jobs of today)? Or E. Something else?
  • One of the best ways to learn to learn is to be an active learner and a teacher of one’s fellow students in college. This instructional philosophy isn’t yet widespread, but its effectiveness has been proven, and it doesn’t require additional financial investment, only a change in the attitudes of faculty members and students.  Broader adoption seems likely, with time.
    • Barbara Lindsey
       
      Would you agree that this is true for learning to occur? Is this all that is necessary?
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  • All three require talented faculty members with scholarly training.  These things are (1) discovering and disseminating new knowledge, (2) preserving the discoveries of the past, and (3) personally mentoring students in ways that allow them to participate in (1) and (2).  Doing these things well takes special training.  It is inherently expensive, because the processes involved are hard to automate or even systematize very much. 
  • Harvard and BYU-Idaho involve their students in teaching one another.  They also have general education courses, created in the last five years, that cut across academic disciplines and engage students in applying principles and theories to real-world problems.  These instructional approaches challenge students to frame inquiries, rather than merely respond to questions posed by their professors.
  • Harvard and other elite institutions are in a paradoxical position.  Their students and alumni are satisfied with their current offerings; in fact, they have a huge surplus of qualified applicants.
  • We’re likely to significant change in the next decade, the net effect of which will be more students served at a lower average cost.  However, the nature of the evolution will differ among institutions.  The elite schools will hybridize their courses not primarily to reduce cost or grow enrollments, but to better serve the rising generation of “digital natives” and to make the most of learning-enhancing computer-adaptive technology.  By contrast, schools without the benefit of high prestige and large endowments will hybridize and offer fully online courses mainly so that they can keep tuition affordable, admit more students, and use the incremental revenues to plug the hole left by rising operating costs and declining state support.  In all cases, students will benefit.
    • Barbara Lindsey
       
      Do you agree that all students will benefit?
  • Most professors will need to spend the majority of their time teaching.  A school that generates the bulk of its revenues via tuition will be able to afford some time for faculty research.  However, that research will need to have relevance to the student learning experience, and it won’t be the driving factor in tenure decisions; teaching quality will be.  Tenure based primarily on publications isn’t a sustainable model for most institutions.
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    Q&A w/authors of Innovative University
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