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Barbara Lindsey

Conversations between @garystager (Gary Stager, Ph.D.) and @andycinek (Andrew P. Marcin... - 0 views

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    Third party in tweet war between Gary Stager and Christian Long. Geez.
Barbara Lindsey

gladwell dot com - designs for working - 0 views

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

Conversations between @rmbyrne (rmbyrne) and @joe_bower (Joe Bower) on Twitter | Bettween - 0 views

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    Tweet war
Barbara Lindsey

for the love of learning: How not to use technology - 0 views

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    A good example of how NOT to engage in online discussions. This is followed by a tweet war between Joe Bower and RM Brynes. Ugly. 
Barbara Lindsey

Conversations between @garystager (Gary Stager, Ph.D.) and @ChristianLong (Christian Lo... - 0 views

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    Tweet war
Barbara Lindsey

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

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

Star Wars Uncut: Director's Cut - YouTube - 0 views

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    What a great way to discuss copyright, remixing and crowd sourcing creative work.
Barbara Lindsey

Star Wars as Silent Film | Open Culture - 0 views

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    Good example of fair use doctrine
Barbara Lindsey

When college students reinvent the world - CSMonitor.com - 0 views

  • Cultural anthropology professor Michael Wesch came up with “World Sim” to push students to stop asking, “What’s going to be on the test?” and to contemplate bigger questions: Why are some people poor and some rich? How does the world work?
  • The goal, he says, is to create an environment where students can expand their capacity for empathizing with and loving those who are different from them.
  • Professor Wesch sets up the simulation by giving each culture a certain amount of power in the beginning – symbolized by playing cards. Then, based on a complex set of rules the class has devised together, students go through each round of the game – striking alliances, trading cards, and sometimes starting “wars” over resources.
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  • “When you learn by doing – like in the World Sim – you can come across these profound discoveries that you just couldn’t get in a lecture,” says Nick Timmons, another teaching assistant.
    • Barbara Lindsey
       
      Your thoughts?
  • A number of his Midwestern classmates say the course has given them an understanding of cultural differences and globalization – insights they expect to carry into career fields such as healthcare, engineering, and social work.
Barbara Lindsey

A Brief Interview with Michael Wesch (The Creator of That Wonderful Video...) - John Ba... - 0 views

  • The Web speeds up the process of rebuttal, reply, and revision and calls forth a different approach. The radically collaborative technologies emerging on the Web create the possibility for doing scholarship in the mode of conversation rather than argument, or to transform the argument as war metaphor into something that suggests collaboration rather than combat. Personally, I prefer the metaphor of the dance and that we are all here in this webscape dancing and playing around with ideas. The best dancers are those that find a way to “lose themselves” in the music – pushing the limits of the dance without fear of tripping or falling because they know that it is all part of the dance.
  • On the next 10-20 years and social networking ... I think this will greatly depend on the structure of those social networking tools and what kinds of communication are made possible with these tools. For example, on Facebook there are “walls” and “discussion groups.” Both of these sections are for human communication, but they are structured differently and therefore elicit different kinds of conversations. Furthermore, they are used in ways beyond how they were intended. Even now, as I am answering multiple questions with one long comment at the bottom of a blog post, the structure of the medium is in some way affecting how I am responding. On a forum I would address each question individually in separate threads. These seemingly minor differences are important because all human relationships are mediated by communication.
    • Barbara Lindsey
       
      "All human relationships are mediated by communication."
  • if there is a global village, it is not a very equitable one, and if there is a tragedy of our times, it may be that we are all interconnected but we fail to see it and take care of our relationships with others. For me, the ultimate promise of digital technology is that it might enable us to truly see one another once again and all the ways we are interconnected. It might help us create a truly global view that can spark the kind of empathy we need to create a better world for all of humankind.
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  • First, everything including the environment, technology, economy, social structure, politics, religion, art and more are all interconnected. As I tried to illustrate in the video, this means that a change in one area (such as the way we communicate) can have a profound effect on everything else, including family, love, and our sense of being itself.
  • wanted to show people how digital technology has evolved and give them a sense of where it might be going and to give some momentum to the all-important conversation about the consequences of that on our global society.
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    Michael Wesch explains the purpose of his video, The Machine is Us/ing Us
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.
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