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Barbara Lindsey

50 Ways to Use Wikis for a More Collaborative and Interactive Classroom | Smart Teaching - 0 views

  • Make it a class project to collaboratively write a reference book that others can use.
  • sk students to create study guides for a specific part of the unit you’re
  • Get your class to create a glossary of terms they use and learn about in new units, adding definitions and images.
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  • Encourage students to submit words that they had trouble with, along with a dictionary entry
  • Let your students share their collective information so that everyone gets a better understanding of the subject.
  • Make it a class project to create an FAQ for your classroom that will help new students and those that will come in years later.
  • Encourage students to draft rules and policies for the classroom.
  • Using a wiki platform, students don’t have to worry about web design, so they can focus on content instead.
  • Save links, documents, and quotes related to units or your classroom as a whole
  • Work with other teachers to create lesson plans and track students’ success.
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.
Inas Ayyoub

Curricula Designed to Meet 21st-Century Expectations | EDUCAUSE - 1 views

  • Faculty concerns perhaps center less on being "replaceable" and more on worrying that the teaching and learning enterprise will be reduced to students gathering information that can be easily downloaded, causing them to rely too heavily on technology instead of intellect.
  • First, traditional age students overwhelmingly prefer face-to-face contact with faculty to mediated communication. Second, technology used in the service of learning will require more—not less—sophistication on the part of students as they engage in processes of integration, translation, audience analysis, and critical judgment.
  • With such specific applications of technology and the limited use of other forms (for example, multimedia), students' low expectations for the use of technology in the curriculum is not surprising. Such constrained use of technology by the faculty in the curriculum and low student expectations may serve to limit innovation and creativity as well as the faculty's capacity to engage students more deeply in their subject matter.
    • Barbara Lindsey
       
      Your thoughts on this?
    • Chenwen Hong
       
      I completely agree. As a student, I don't think a text-based PowerPoint slide presentation would interest me too much, partcularly when there are too many words squeezed into just one slide. If a PowerPoint slide presentation is just a copy of texts, the use of technology makes nothing different from teaching with a blackboard and chalks. The use of technology must have, and then can serve, a pedagogical purpose.
    • Inas Ayyoub
       
      This remindes me of the first time stuents at my school started using powerpoints to make presentations and how exciting it was for them to see thier classmates ideas presented in front of them this way. Over using this and without really integraing sth new than their words written, showed boredom and disinterest later! So teachers should think here of using technology in a different way like turning the lesson into a digital story or using technology differently ! Being unexpected in the way you use technology in the classrooom, would make them always eager to learn and excited about it!!!
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  • Today, these tools still provide middle school teachers with vehicles to enlarge their students' learning. Math and science problem sets are embedded in authentic stories that students understand because the stories reflect their everyday experiences. These authentic problem-solving exercises not only engage students in their learning but also stimulate them to want to learn more.
  • From the beginning, however, a problem arose in that those middle school students went on to high schools and later to colleges that did not (and do not) provide this type of rich learning experience—a learning experience that can best be achieved when technology is used in the service of learning.
  • Students need mastery in areas that include knowledge of human imagination and expression, global and cross-cultural communities, and modeling the natural world.
  • The assignment could take on a deeper dimension by using videoconferencing and e-mail to link teams to students living in the countries of origin of the groups being studied. Integrating real-time global experiences into the classroom can provide a new, first-person information source and engender debate about the validity of various sources of information used in conducting research.
    • Chenwen Hong
       
      I guess the project, with the Peace Corp., we saw during last Friday's session is the best example of technology engaging students with course materials by iintegrating real-time experiences with classroom studies.
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

Library of Congress to archive your tweets - CNN.com - 0 views

  • Examples of notable tweets the library cited Wednesday include the first-ever tweet from Twitter co-founder Jack Dorsey, the tweet on Barack Obama's account after he won the 2008 election and a pair of tweets from a photojournalist who was arrested in Egypt, then freed after a series of events stemming from his use of the micro-blogging site.
  • "And I think folks understand that whatever they post on Twitter is meant to be searchable. So I don't see a big issue here." Verdi said he would feel differently if the federal government seeks to identify users through their tweets or to match Twitter users with other information about citizens that is stored in federal databases.
Barbara Lindsey

Technology: The Wrong Questions and the Right Questions | Education | Change.org - 0 views

  • we have to create engagement which works educationally for more than 25% of students, precisely because we have to work against the dominant culture - "math is hard," "history is stupid," "languages are un-necessary." And we need to do that using the efficiencies of contemporary technologies.
  • So tech, in my view, increases factual knowledge. It also allows a constant check of that knowledge. Math facts may stay fairly stable, but not the nations of Europe. Biological knowledge, chemical knowledge, changes constantly. We obviously need both, but a memorizer is not a person with a trustable education. A "finder" may be.
  • the best thing we will have done for our children (and future generations) is to have fully engaged them in empowered learning, building relationships and thinking creatively - and right now technology is one of the tools that facilitates that kind of education, so we need to use it! http://www.iwasthinking.ca/2008/10/09/its-not-about-the-technology/
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  • i.e. I remember it only until I've finished the test) transforms to internalized (and useful) memorization only when the information is RELEVANT to my life! That's why kids can remember Pokemon points and Blues Clues songs yet struggle with their times tables or history dates! Yes, we need to agree on what content is foundational - AND we need to learn to teach it to (or learn it with) our children in ways that are meaningful to THEM, not just to us!
  • I used to teach in an urban alternative school where many of my students were gang members.  These students were not successful in school though they did get an education.  I am sorry to say that the majority of their education did not come from school teachers nor was it an education sanctioned by the school district.  I also through the years have been involved in many online communities of interest.  Learning occurs there all the time.  Not all members of these communities were successful in school but within these communities were successful in becoming educated about certain things.  There is high quality education occurring in many places that we don't consider school:  boy and girl scouts, workplaces, church youth groups, 4H, Little League, gangs, internet chat rooms, YouTube, blogs, libraries, family interaction, etc.  In fact, the most relevant learnin for most people happens in one of hese other places of education and not in schools. 
  • If the goal for schools is to become the most relevant and useful place for education we need to harness the rhetorical draw of the gang, the personal significance of the family, the intrinsic nature of clubs and organizations like the Scouts and 4H, the relevance and applicability of the work place, and the openness of social media.  The only way to do this is to personalize the learning experience for each student.  This means that content will be as different from person to person as is the approach to teaching that content.
  • Students who behave, and learn, most like their teachers do the best in classrooms. Teachers see this reflection as proof of their own competence - "The best students are just like me." And thus all who are "different" in any way - race, class, ability, temperament, preferences - are left out of the success story.
  • Mobile phones, computers everywhere, hypertext, social networking, collaborative cognition (from Wikipedia on up), Google, text-messaging, Twitter, audiobooks, digital texts, text-to-speech, speech recognition, flexible formatting - these are not "add ons" to the world of education, they are the world of education. This is how humans in this century talk, read, communicate, learn. And learning to use these technologies effectively, efficiently, and intelligently must be at the heart of our educational strategies. These technologies do something else - by creating a flexibility and set of choices unprecedented in human communication - they "enable" a vast part of the population which earlier media forms disabled.
  • Back in Socrates' time it was all about the information you could remember. With this system very, very few could become "educated." In the ‘Gutenberg era' it was all about how many books you could read and how fast you could decode alphabetical text; this let a few more reach that ‘educated' status - about 35% if you trust all those standardized tests to measure "proficiency." But now it is all about how you learn to find information, how you build your professional and personal networks, how you learn, how to learn - because learning must be continuous. None of this eliminates the need for a base of knowledge - the ability to search, to ask questions, requires a knowledge base, but it dramatically alters both how that knowledge base is developed, and what you need to do with it. This paradigm opens up the ranks of the "educated" in ways inconceivable previously.
  • We must abandon the one-way classroom communication system, be it the lecture or use of the "clicker," and teach with conversation and through modeling learning itself. We must lose the idea that "attention" means students staring at a teacher, or that "attendance" means being in the room, and understand all the differing ways humans learn best. We must stop separating subjects rigidly and adopt the contemporary notion of following knowledge where it leads us.
Barbara Lindsey

Digitally Speaking / Social Bookmarking and Annotating - 0 views

  • Imagine the cultural understandings that could develop between readers from opposite sides of the earth sharing thought together. 
    • Barbara Lindsey
       
      Social and cross-cultural skills
Barbara Lindsey

News: The Promise of Digital Humanities - Inside Higher Ed - 0 views

  • Amid financial crises, humanities departments at many public universities have been razed. But even amid cuts, there has been a surge in interest in the digital humanities -- a branch of scholarship that takes the computational rigor that has long undergirded the sciences and applies it the study of history, language, and culture.
  • The NEH held a symposium on Tuesday for 60 recipients of its 2011 Digital Humanities Start-Up Grants, most of whom were given between $25,000 and $50,000. They were allowed two minutes each to describe their projects.
  • “While we have been anguishing over the fate of the humanities, the humanities have been busily moving into, and even colonizing, the fields that were supposedly displacing them,”
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  • role-playing games
  • enabling learners to “experience” historical events or places instead of reading off a page.
  • visual representations
  • of data
  • One recurring theme in the presentations was the need for “linked open data” — types of research data that are tagged and stored in such a way that they can integrate with other research.
  • If one researcher had architectural data about New York City, and another had demographic data about the city, and each were able to cross-reference the other’s data with her own, it would deepen the context and understanding for both.
  • With linked open data on the rise, the same could soon happen with research data
  • “Linked open data is a very technical infrastructure, but the result of that is information that’s shared widely for free. A lot of scholarly data over the last hundred years or so is locked up in expensive journals that the public could never afford to subscribe to.
  • That could be the key to winning back support for the humanities
  •  
    Could the creative use of technology help humanities scholars win back public support?
Barbara Lindsey

Educational Leadership:Promoting Respectful Schools:Respecting Students - 0 views

  • Teachers who respect students Understand the power of beliefs in shaping their practice. They rid themselves of any covert persuasion they may have that kids who are like them in race, economic status, language, beliefs, or motivation are somehow better or smarter than those who are unlike them. Believe their work can make previously unimpressive students shine—and can raise the ceilings of possibility for impressive students. Teach students how to grow academically and personally. Enlist students' partnership in creating a classroom that dignifies each person within it.
  • Teachers who respect students choose their words and tone carefully. They consciously Listen to students—and hear them. Use positive humor, not sarcasm. Provide corrective feedback in ways that foster student effort. Acknowledge student growth. Use their words to defuse difficult situations.
Barbara Lindsey

UDI Community - 0 views

  • Universal Design for Instruction (UDI) is an approach to teaching that consists of the proactive design and use of inclusive instructional strategies that benefit a broad range of learners including students with disabilities.
    • Barbara Lindsey
       
      This sentence is key to understanding the importance of UDI in practice.
  • One of the important aspects of UD is that its inclusive elements benefit all users, not just those with disabilities.
  • By providing faculty with a framework and tools for designing inclusive college instruction, the dialogue surrounding college students with disabilities changes from a focus on compliance, accommodations, and nondiscrimination to an emphasis on teaching and learning.
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  • The nine Principles of UDI
  • provide a framework for faculty reflection
  • They can inform a variety of teaching issues and approaches ranging from assessing student learning, to broadening learning experiences, to considering how an inclusive classroom climate can be established
  • The word universal refers to a flexible design that is specifically created to be used in diverse ways.
  • UDI focuses on many elements of pedagogy and encourages examination of teaching including the daily tasks of planning and delivering instruction as well as assessing student learning.
  • Visitors to the Facultyware web site can use these products as examples of how the Principles of Universal Design for Instruction © can be applied to the task of designing inclusive learning environments and experiences for today's diverse college classrooms.
Barbara Lindsey

Apple Believes technology is not all you need, but a critical tool « Moving a... - 0 views

  • These are things many people in IT don't understand or "get."
  • I believe even more in the power of human beings to make connections and make a difference.
Barbara Lindsey

This Visible College (EDUCAUSE Quarterly) | EDUCAUSE - 1 views

  • To understand this brave new classroom, we can learn from the library. For years librarians have grappled with their own version of this inversion, seeing library functions migrate beyond physical walls. Indeed, a slogan coined in 2005, around the same time Web 2.0 started growing into a planetary force, spotlighting not library as place, but (every) place as (a) library.11 Libraries facilitate access to patrons anywhere. Similarly, teachers increasingly make learning experiences available to any connected learner, willingly or not. Thus education needs all kinds of professional and policy responses to support the classroom. We can imagine changes to teacher training in graduate school, new professional development content, increased campus media capture support, new privacy policies, intellectual property policy revisions, reinterpretations of FERPA, and new licenses and negotiations for non-OER materials. And that’s just for starters.
  •  
    Fall syllabus 2011
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