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Celeste Arrieta

Wordle as a reading comprehension tool? - Middle School Portal - 1 views

  • I came across Wordle some time ago, thought it was pretty nifty, and then forgot about it. An article in the August 2009 issue of Learning & Leading with Technology ("Words in a Cloud" by Samantha Morra) made me reflect on the power of this fun tool. In the article, Morra describes using Wordle with her middle school students to visually analyze important documents, such as the Declaration of Independence. I began thinking about science and math class and wondered if the tool might help students identify the main concepts of a passage. However, I don't have access to any middle school textbooks to test this out!
  • If you want to use it as a pre-reading activity, copy and paste your text (or type a few paragraphs) into wordle to create the word cloud. The size of the words indicates the frequency of their use in the text. In essence, major concepts/terms will show up bigger than others. Have students create a prediction about the reading based on what appears in the word cloud.
  • If you want to use it as a post-reading activity, I have had students keep a running list of words that jump out at them while reading a particular passage (or you can give them a more specific purpose for selecting words). Then, they create their own word clouds. It's a nice formative assessment for teachers to see what students are noticing while reading (or NOT noticing...).
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  • I have also asked students to write a beginning of the year letter to me about themselves. We then "wordle" the letter and print the graphic. I hang the graphics on the wall of the classrooms to show a snapshot of the different people in the class.
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.
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  • 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

Getting It Wrong: Surprising Tips on How to Learn: Scientific American - 0 views

  • The team found that students remembered the pairs much better when they first tried to retrieve the answer before it was shown to them. In a way this pretesting effect is counterintuitive:
    • Barbara Lindsey
       
      Participants were tested on pairs of "weak associates," words that are loosely related such as star-night or factory-plant. (If students are given the first word and asked to generate an associate, the probability of generating the target word is only 5 percent.) In the pretest condition, students were given the first word of the pair (star- ???) and told to try to generate the second member that they would have to later remember.
  • Students were asked to read the essay and prepare for a test on it. However, in the pretest condition they were asked questions about the passage before reading it such as “What is total color blindness caused by brain damage called?” Asking these kinds of question before reading the passage obviously focuses students’ attention on the critical concepts. To control this “direction of attention” issue, in the control condition students were either given additional time to study, or the researchers focused their attention on the critical passages in one of several ways: by italicizing the critical section, by bolding the key term that would be tested, or by a combination of strategies. However, in all the experiments they found an advantage in having students first guess the answers. The effect was about the same magnitude, around 10 percent, as in the previous set of experiments.
  • This work has implications beyond the classroom. By challenging ourselves to retrieve or generate answers we can improve our recall. Keep that in mind next time you turn to Google for an answer, and give yourself a little more time to come up with the answer on your own. 
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  • Students might consider taking the questions in the back of the textbook chapter and try to answer them before reading the chapter. (If there are no questions, convert the section headings to questions. If the heading is Pavlovian Conditioning, ask yourself What is Pavlovian conditioning?). Then read the chapter and answer the questions while reading it. When the chapter is finished, go back to the questions and try answering them again. For any you miss, restudy that section of the chapter. Then wait a few days and try to answer the questions again (restudying when you need to). Keep this practice up on all the chapters you read before the exam and you will be have learned the material in a durable manner and be able to retrieve it long after you have left the course. 
Barbara Lindsey

Word Clouds | JamieKeddie.com - 0 views

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    Gives example of using wordle to create a word cloud of the lyrics to a song. Students guess the content and then use Wordle to help them with the full text of the lyrics.
Barbara Lindsey

High Tech Ideas for Low Tech Classrooms: VoiceThread - Teaching Village - 0 views

  • How can we take high tech tools and make them work in low tech classrooms?
  • Students in my kids’ class are learning the alphabet. After learning each set of
  • etters, they enjoy making “human” letters.
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  • This year, I’ve taken pictures in class and then uploaded the pictures to VoiceThread. I record their words for each letter sound using Audacity (another free tool that allows you to record and edit audio on your computer) and a microphone attached to my laptop. At home, I add their recorded voices to the alphabet book.
  • students’ book. I can export a video of our book, with comments, to bring back into class so we can listen to the additions and see how the book has grown. When we reach the letter Z, I’ll burn the book onto CDs for each of my students, so they’ll have a personal copy of their project.
  • anyone can add words or comments to my
  • Because VoiceThread is collaborative,
  • 1-Because of a generous network of teachers on Twitter, my students have a chance to hear English spoken in a lot of different accents, by people who speak English as a first language and by people for whom English is an additional language.
  • 2-They’re learning about countries as we see where our comments come from. 3-They have an invaluable connection with a group of students in New Jersey, who are also learning their letters and sounds, thanks to the efforts of Kim George. My students are mighty impressed with how many words Kim’s students know for each letter! (In fact, you may want to fast forward through a few of the alphabet letters when you check out the project–it has really grown since our first letters!)
  • 4-Since the book is web-based, other classes around the world can “read” our book and it can continue to grow.
  • 1-It gave my students a clear, real reason to use English. It also gave them a real audience to write for. They had something to show for their hard work, something they could share with their friends and grandchildren. 2-My students have a chance to interact with other students through comments. I embedded their project on My Corner of the World (my student blog). While they haven’t yet mastered the art of responding to comments (a few are still figuring out where they might find their email addresses ), they do enjoy reading comments from others. 3-Since it’s web-based, I can share a link with the parents of my young learners class, and they can read the book at home. In fact, anyone around the world can read the book.
Barbara Lindsey

Pre-Reading | Foreign Language Teaching Methods: Reading - 0 views

  • Brainstorming:
    • Barbara Lindsey
       
      How could you use word cloud generators for this?
  • The goal is to activate the learners' horizon of expectation, and help learners identify what the text is about
  • ideally
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  • learner-centered
  • Skimming:
  • skim the first paragraph or page of the text, look at illustrations and subtitles, and identify the words in the text that explain the "who," "what," "where," and "when" of the text content
Barbara Lindsey

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

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

Make a word cloud - WordItOut - 1 views

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    Can handle Spanish question marks
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

Language Log » More on "culturomics" - 0 views

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    When I was a student at the end of the 1970's, I never dared imagine, even in my wildest dreams, that the scientific community would one day have the means of analyzing computerized corpuses of texts of several hundreds of billions of words.
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

Using Feedly To Create A Personal News Hub - 10,000 Words - 0 views

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    This would be a great way to set up selected readings for specific language classes
Barbara Lindsey

Open university: Joi Ito plans a radical reinvention of MIT's Media Lab (Wired UK) - 0 views

  • They have a maker space in a church, a place where the kids can learn how to build a computer, a bike shop where they can learn how to do repairs. The kid who runs this place, Jeff Sturges, is awesome.We're sending a bunch of Media Lab people to Detroit to work with local innovators already doing stuff on the ground."
  • in which any bright talent anywhere, academically qualified or not, can be part of the world's leading "antidisciplinary" research lab. "Opening up the lab is more about expanding our reach and creating our network," explains Ito, appointed director in April 2011.
  • as Ito sees it, the formal channels of academia today inhibit progress. "In the old days, being relevant was writing academic papers. Today, if people can't find you on the internet, if they're not talking about you in Rwanda, you're irrelevant. That's the worst thing in the world for any researcher. The people inventing things might be in Kenya, and they go to the internet and search. Funders do the same thing. The old, traditional academic channel is not a good channel for attracting attention, funding, people, or preventing other people from competing with you.
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  • You can't actually tell people to think for themselves, or be creative. You have to work with them and have them learn it themselves."
  • "Being open, you're much less likely to have someone competitive emerge and you're also much more likely to find somebody who wants to come to work with you. Innovation is happening everywhere -- not just in the Ivy League schools. And that's why we're working with you guys [at Wired] too -- in the old days, academics didn't want to be in popular magazines. Openness is a survival trait."
  • It was, according to a 1984 briefing document by Negroponte, "designed to be a place where people of dramatically different backgrounds can simultaneously use and invent new media, and where the computer itself is seen as a medium -- part of a communications network of people and machines -- not just an object in front of which one sits."
  • As Ito sees it, the lab's mission "is to come up with ideas that would never be able to occur anywhere else because most places are incremental, directed and disciplinary".
  • There are lots of kids who are not happy with this massive consumerism, this unsustainable growth, but who have really smart science and technology values. That's a type of person we can draw into what I think will become a movement."
  • "We aim to capture serendipity. You don't get lucky if you plan everything -- and you don't get serendipity unless you have peripheral vision and creativity.
  • Our funding model allows our students to do anything they want without asking permission. It's like venture capital: we don't expect every experiment to succeed -- in fact, a lot are failures. But that's great -- failure is another word for discovery. We're very much against incrementalism -- we look for unexplored spaces, and our key metrics for defining a good project are uniqueness, impact and magic."
  • Ito set out some of his key principles. These included: "Encourage rebellion instead of compliance"; "Practice instead of theory"; " Constant learning instead of education"; "Compass over map". "The key principles include disobedience -- no one ever won a Nobel prize by doing as they're told," he explains later. "And it's about resilience versus strength -- you don't try to resist failure, you allow failure and bounce back. And compass over map is important -- you need to know where you're going, but the cost of planning often exceeds the cost of actually trying. The maps you have are often wrong. These principles affect and apply to just about any organisation."
  • In the old days, you needed hundreds of millions of dollars and armies of people to do anything that mattered. Today a couple of kids using open-source software, a generic PC and the internet can create a Google, a Yahoo! and a Facebook in their dorm room, and plug it in and it's working even before they've raised money. That takes all the innovation from the centre and pushes it to the edges -- into the little labs inside the Media Lab; inside dorm rooms; even inside terrorist cells. Suddenly the world is out of control -- the people innovating, disrupting, creating these tools, they're not scholars. They don't care about disciplines. They're antidisciplinary."
  • So when Ito was appointed, Negroponte wanted the press release headlined: "University dropout named director of Media Lab". "But," he says with raised eyebrows, "the fact that he didn't have a degree was buried near the last paragraph. That's the good Peter Thiel -- if you do drop out and do something creative, more power to you."
Barbara Lindsey

Going Low-Tech to Teach New Literacies | DMLcentral - 0 views

  • such students learn “how to perform theory without polysyllabic words” and how to feel as well as to articulate.
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    fall 2012 syllabus
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