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Barbara Lindsey

History of the Modern Comic Book - 0 views

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    An example of a faculty site with student blogs
Barbara Lindsey

Justice with Michael Sandel - Home - 1 views

  • ustice is one of the most popular courses in Harvard’s history. Now it’s your turn to take the same journey in moral reflection that has captivated more than 14,000 students, as Harvard opens its classroom to the world.
  • - Voice your opinion in the polls- Take the pop quiz to test your knowledge - Dig deeper with in-depth readings- Hone arguments with the Discussion Guides And continue the classroom discussion—online—with other viewers from around the world.
  • Or you can start your own Discussion Circle, if your school, church, club, or organization wants to take the course as a group. It’s easy.
Barbara Lindsey

Google LatLong: History in the Unmaking - 0 views

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    London and Paris in 1945 
Barbara Lindsey

Avalon Project - Documents in Law, History and Diplomacy - 0 views

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    Thx to tweet from @joevans and retweeted by @tonnet, whom I follow
Barbara Lindsey

Mobile Learning Environments (EDUCAUSE Quarterly) | EDUCAUSE - 0 views

  • There are now more than 4.6 billion mobile phones in the world, according to the International Telecommunication Union (ITU)'s February 2010 press release. This means that mobile has taken the place of FM radio as the most ubiquitous communications technology on the planet.1
  • Mobile Phone Network model Centralized Peer-to-peer Content customization Uniform Personalized to context Information distribution Just-in-case Just-in-time Role of audience Consumer Equal p
  • articipant Reliability qualifier Authority Social capital Governance Institutional Relational
  • ...10 more annotations...
  • I've seen that the introduction of new technology can provide a reason to rethink a course from the ground up and reassess its core educational goals. Often the greatest educational benefits seem to come from this process, not just the technology that encouraged it.
  • It might be safe to say that each time a new medium appears, no matter how different it is from the last, the normal reaction of first adopters is to use it as a new package for existing content.
  • I've seen that the introduction of new technology can provide a reason to rethink a course from the ground up and reassess its core educational goals.
  • It can be easy to forget that we human beings are more than brains connected to an apparatus that moves us around in space. Instead, we belong to communities, we live in neighborhoods, we have local culture and events. Inquiry into these real things led to many of the fields we now call science, literature, mathematics, and history. Why then do we isolate instruction in those fields to a classroom, instead of deriving instruction from the environment from which these subjects originated?
  • place-based learning.2 One such example, Dow Day, is a mobile documentary that relives the student protests of 1967 in Madison, Wisconsin, against the Dow Chemical Company. In this activity, location-aware handheld devices add an augmented layer of history to a walk through the campus, placing the student in the role of a news reporter. By monitoring the device's GPS, Dow Day creates the illusion of additional characters standing in physical space and facilitates simulated conversations with these historical entities. In addition, when players walk to predefined media locations, they trigger video footage showing the physical scene from 40 years ago, effectively superimposing the marchers and police onto the current landscape (see Figure 2).
  • Situated theories of cognition claim that knowing and doing are inherently linked.4
  • One such example is a mobile game called Mentira, produced at the University of New Mexico. The game is designed to teach an introductory college Spanish course in ways that are contextually sound for language learning. In the first unit, students play a mystery game on handheld devices in class, taking on a role and a goal within a story told completely in Spanish. In the second part, the class moves outside to a local Spanish-speaking neighborhood where they continue the story while interacting with physical and virtual Spanish speakers in real places (see Figure 3).
  • With Mentira, students learn Spanish outside the classroom through narrative and interaction with members of a Spanish-speaking neighborhood, re-situating language in practice.
  • Identifying the disconnect, a small team from the Animal Science and the Academic Technology departments at UW–Madison are working on a prototype for hobbyist birdwatchers. WeBIRD aims to crowdsource ornithology research by providing a tool for hobbyist practitioners. A birder will record the audio of a bird heard out in the field and have the system identify the species while logging the sighting's location, current weather, time of day, and date to a central database. This data can then be used for anything from formal research of migration patterns over time to individual questions such as, "Where am I most likely to see a cardinal this time of year?" The potential for location-aware, casual gaming structures such as birder achievement badges and leader boards are also being investigated in order to provide additional social play motives for participation.
  • Learning happens anywhere someone has questions and the means to explore answers. As ubiquitous access to information continues to shift toward personal mobile devices, more and more of the learning that takes place may be happening outside of the classroom and in the context of a backyard conversation, a walk through campus, or a Taquería in New Mexico.
Barbara Lindsey

Dr. Mashup; or, Why Educators Should Learn to Stop Worrying and Love the Remix | EDUCAUSE CONNECT - 0 views

  • A classroom portal that presents automatically updated syndicated resources from the campus library, news sources, student events, weblogs, and podcasts and that was built quickly using free tools.
  • Increasingly, it's not just works of art that are appropriated and remixed but the functionalities of online applications as well.
  • mashups involve the reuse, or remixing, of works of art, of content, and/or of data for purposes that usually were not intended or even imagined by the original creators.
  • ...31 more annotations...
  • hat, exactly, constitutes a valid, original work? What are the implications for how we assess and reward creativity? Can a college or university tap the same sources of innovative talent and energy as Google or Flickr? What are the risks of permitting or opening up to this activity?
    • Barbara Lindsey
       
      Good discussion point
  • Remix is the reworking or adaptation of an existing work. The remix may be subtle, or it may completely redefine how the work comes across. It may add elements from other works, but generally efforts are focused on creating an alternate version of the original. A mashup, on the other hand, involves the combination of two or more works that may be very different from one another. In this article, I will apply these terms both to content remixes and mashups, which originated as a music form but now could describe the mixing of any number of digital media sources, and to data mashups, which combine the data and functionalities of two or more Web applications.
  • Harper's article "The Ecstasy of Influence," the novelist Jonathan Lethem imaginatively reviews the history of appropriation and recasts it as essential to the act of creation.3
  • Lethem's article is a must-read for anyone with an interest in the history of ideas, creativity, and intellectual property. It brilliantly synthesizes multiple disciplines and perspectives into a wonderfully readable and compelling argument. It is also, as the subtitle of his article acknowledges, "a plagiarism." Virtually every passage is a direct lift from another source, as the author explains in his "Key," which gives the source for every line he "stole, warped, and cobbled together." (He also revised "nearly every sentence" at least slightly.) Lethem's ideas noted in the paragraph above were appropriated from Siva Vaidhyanathan, Craig Baldwin, Richard Posner, and George L. Dillon.
  • Reading Walter Benjamin's highly influential 1936 essay "The Work of Art in the Age of Mechanical Reproduction,"4 it's clear that the profound effects of reproductive technology were obvious at that time. As Gould argued in 1964 (influenced by theorists such as Marshall McLuhan5), changes in how art is produced, distributed, and consumed in the electronic age have deep effects on the character of the art itself.
  • Yet the technology developments of the past century have clearly corresponded with a new attitude toward the "aura" associated with a work of invention and with more aggressive attitudes toward appropriation. It's no mere coincidence that the rise of modernist genres using collage techniques and more fragmented structures accompanied the emergence of photography and audio recording.
  • Educational technologists may wonder if "remix" or "content mashup" are just hipper-sounding versions of the learning objects vision that has absorbed so much energy from so many talented people—with mostly disappointing results.
  • The question is, why should a culture of remix take hold when the learning object economy never did?
  • when most learning object repositories were floundering, resource-sharing services such as del.icio.us and Flickr were enjoying phenomenal growth, with their user communities eagerly contributing heaps of useful metadata via simple folksonomy-oriented tagging systems.
  • the standards/practices relationship implicit in the learning objects model has been reversed. With only the noblest of intentions, proponents of learning objects (and I was one of them) went at the problem of promoting reuse by establishing an arduous and complex set of interoperability standards and then working to persuade others to adopt those standards. Educators were asked to take on complex and ill-defined tasks in exchange for an uncertain payoff. Not surprisingly, almost all of them passed.
  • Discoverable Resources
  • Educators might justifiably argue that their materials are more authoritative, reliable, and instructionally sound than those found on the wider Web, but those materials are effectively rendered invisible and inaccessible if they are locked inside course management systems.
  • It's a dirty but open secret that many courses in private environments use copyrighted third-party materials in a way that pushes the limits of fair use—third-party IP is a big reason why many courses cannot easily be made open.
  • The potential payoff for using open and discoverable resources, open and transparent licensing, and open and remixable formats is huge: more reuse means that more dynamic content is being produced more economically, even if the reuse happens only within an organization. And when remixing happens in a social context on the open web, people learn from each other's process.
  • Part of making a resource reusable involves making the right choices for file formats.
  • To facilitate the remixing of materials, educators may want to consider making the source files that were used to create a piece of multimedia available along with the finished result.
  • In addition to choosing the right file format and perhaps offering the original sources, another issue to consider when publishing content online is the critical question: "Is there an RSS feed available?" If so, conversion tools such as Feed2JS (http://www.feed2JS.org) allow for the republication of RSS-ified content in any HTML Web environment, including a course management system, simply by copying and pasting a few lines of JavaScript code. When an original source syndicated with RSS is updated, that update is automatically rendered anywhere it has been republished.
  • Jack Schofield
  • Guardian Unlimited
  • "An API provides an interface and a set of rules that make it much easier to extract data from a website. It's a bit like a record company releasing the vocals, guitars and drums as separate tracks, so you would not have to use digital processing to extract the parts you wanted."1
  • What's new about mashed-up application development? In a sense, the factors that have promoted this approach are the same ones that have changed so much else about Web culture in recent years. Essential hardware and software has gotten more powerful and for the most part cheaper, while access to high-speed connectivity and the enhanced quality of online applications like Google Docs have improved to the point that Tim O'Reilly and others can talk of "the emergent Internet operating system."15 The growth of user-centered technologies such as blogs have fostered a DIY ("do it yourself") culture that increasingly sees online interaction as something that can be personalized and adapted on the individual level. As described earlier, light syndication and service models such as RSS have made it easier and faster than ever to create simple integrations of diverse media types. David Berlind, executive editor of ZDNet, explains: "With mashups, fewer technical skills are needed to become a developer than ever. Not only that, the simplest ones can be done in 10 or 15 minutes. Before, you had to be a pretty decent code jockey with languages like C++ or Visual Basic to turn your creativity into innovation. With mashups, much the same way blogging systems put Web publishing into the hands of millions of ordinary non-technical people, the barrier to developing applications and turning creativity into innovation is so low that there's a vacuum into which an entire new class of developers will be sucked."16
  • The ability to "clone" other users' mashups is especially exciting: a newcomer does not need to spend time learning how to structure the data flows but can simply copy an existing framework that looks useful and then make minor modifications to customize the result.19
    • Barbara Lindsey
       
      This is the idea behind the MIT repository--remixing content to suit local needs.
  • As with content remixing, open access to materials is not just a matter of some charitable impulse to share knowledge with the world; it is a core requirement for participating in some of the most exciting and innovative activity on the Web.
  • "My Maps" functionality
  • For those still wondering what the value proposition is for offering an open API, Google's development process offers a compelling example of the potential rewards.
    • Barbara Lindsey
       
      Wikinomics
  • Elsewhere, it is difficult to point to significant activity suggesting that the mashup ethos is taking hold in academia the way it is on the wider Web.
  • Yet for the most part, the notion of the data mashup and the required openness is not even a consideration in discussions of technology strategy in higher educational institutions. "Data integration" across campus systems is something that is handled by highly skilled professionals at highly skilled prices.
  • Revealing how a more adventurous and inclusive online development strategy might look on campus, Raymond Yee recently posted a comprehensive proposal for his university (UC Berkeley), in which he outlined a "technology platform" not unlike the one employed by Amazon.com (http://aws.amazon.com/)—resources and access that would be invaluable for the institution's programmers as well as for outside interests to build complementary services.
  • All too often, college and university administrators react to this type of innovation with suspicion and outright hostility rather than cooperation.
  • those of us in higher education who observe the successful practices in the wider Web world have an obligation to consider and discuss how we might apply these lessons in our own contexts. We might ask if the content we presently lock down could be made public with a license specifying reasonable terms for reuse. When choosing a content management system, we might consider how well it supports RSS syndication. In an excellent article in the March/April 2007 issue of EDUCAUSE Review, Joanne Berg, Lori Berquam, and Kathy Christoph listed a number of campus activities that could benefit from engaging social networking technologies.26
  • What might happen if we allow our campus innovators to integrate their practices in these areas in the same way that social networking application developers are already integrating theirs? What is the mission-critical data we cannot expose, and what can we expose with minimal risk? And if the notion of making data public seems too radical a step, can APIs be exposed to selected audiences, such as on-campus developers or consortia partners?
Barbara Lindsey

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

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

Confessions of a Podcast Junkie: A Student Perspective (EDUCAUSE Review) | EDUCAUSE - 3 views

  • My experience in creating podcasts came through much nobler endeavors. It began with a research project in the working-class neighborhoods of North Belfast and a frustrated conversation over pints in a pub. I was on a research high after an interview with two women of very different political backgrounds. They were friends, brought together by the work of a local nonprofit, and their mutual admiration shone from the lightning-fast banter that they tossed back and forth throughout the interview. It was clear to me that they were a perfect example of a friendship from different sides of the political divide. But my friend at the pub just couldn't get it. He suggested that their friendship might be contrived, a mere show for my benefit, or that if real, it didn't mean as much as I thought. Exasperated, I pulled out my recorder and played the conversation back to him. As their Belfast accents filled up our corner booth, I could see his posture slacken and the battle turn my way. In that moment, I decided that only a podcast could finish telling my story. Over the next months, armed with just an MP3 player and some freeware suggested by a friend, I worked to piece together the story of North Belfast through interviews, conversations, and the sounds of the streets. The result was crude, elementary, and slightly difficult to listen to. But I was hooked.
  • Student Use (and Misuse) of Podcast Technology
  • In fact, the iPod topped the list of the most "in" things on campus in 2006, according to Student Monitor's Lifestyle & Media Study.
    • Barbara Lindsey
       
      How many in our class own an iPod? Other mp3 player?
    • Inas Ayyoub
       
      I don't have any of them, but after studying and teaching in an American university , I feel it is one of the important things that I have to own!!
    • Kemen Zabala
       
      I own an iPod touch and I believe my cellphone is also part mp3 player
    • Barbara Lindsey
       
      I have 2
    • Blanca Garcia Valenzuela
       
      I have a mp3 player, not an iPod and, anyway, I do not see why iPods are so popular...
    • Catherine Ross
       
      I own an iPod but I never use it!
    • Celeste Arrieta
       
      I don't have an IPod
    • Celeste Arrieta
       
      You made very interesting comments, Inas! Congratulations!!
    • suzanne ondrus
       
      I own one but have yet to use it! :(
    • Christopher Laine
       
      Mine doesn't really work since I put it in the laundry. But I never used it much anyway because it's not compatible with .flac files.
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  • transfer lectures and course material
  • "The good thing was that you could listen to a section over and over again if you wanted to review it," Clemen says. "There were a few podcasts that I had to review a couple of times. I could write out what he was saying and listen to what he was saying again." Reviewing came in handy, they all say, especially during project or exam times. "[With the podcasts], I've got more material to go back to if I wanted to review that module," Clemen says. "Whereas with the rest of the material, I just have some PowerPoint and my own notes."
  • The trick, students say, is to make sure that there is something to gain by attending class and downloading the lecture.
  • the material has to be relevant to the rest of the course. Otherwise, it's just a cool technology to have." Material should have a clear connection to the actual course, making a seamless transition between face time and the online realm.
  • Students stress the need to keep audio and video concise and engaging.
  • ust because a student totes an iPod on campus doesn't mean that the student is podcast-savvy.
  • "There aren't any time constraints. Your podcast doesn't have to be an exact amount of time. You have carte blanche to change the format and grow your show." He also helps capture audio from guest speakers so that the programs can be
  • n to the guest lectures while on the bus, at the gym, or in their dorm rooms. Still, Stein never felt the urge to skip class. "It was nice to know that if you missed class, you could record the lectures," she says. "But the iPod didn't encourage you to miss class. There's not a chalkboard that you can see or problems that you can see worked out. I think more people show up in a [podcasting] course because it encourages more interaction."
  • "It's much better than writing a paper. It's more interesting, much more fun, and much more creative. You get a lot of time to work on it, and it's more collaborative because you're working with other people. You're creating the performance as you go and then continuously working on it." Creating a podcast didn't mean less work, he says.
    • Barbara Lindsey
       
      Your thoughts?
    • suzanne ondrus
       
      This seems to go on the idea of trying to make one's class accessible to everyone. So with podcasts students with strong oral skills might excell.
    • Inas Ayyoub
       
      Still, we don't want students to end up with poor writing skills. So I guess with the help of other uses of technolog like wikis we can make writing papers more fun and help stdents improve that as well.
  • Though her goal was to increase learning for her peers in the anatomy course, she found that creating the material was a boon to her own learning. "As a student creating the podcasts, I had the chance to learn a lot more than I would have taking a course," she says. "It's about learning how to teach the material and how to make a narration out of it. You have this intimate knowledge of the material, and now you know how to show the different sides of an issue."
  • Besides the entertainment value, Westfall and Finnegan say that the podcasts were especially useful for reviewing material. They used the podcasts as refreshers throughout the semester and during exam time. In addition, creating a segment meant that they had to brush up on their own knowledge of the subject.
  • I don't want [the podcasts] to overlap with lectures too much; I still want people to go to the lecture. This is a very relaxed way to get the information to them. They can do it on their own time and download it whenever."
    • Inas Ayyoub
       
      Though the podcasts arre a great idea for reviewing materials and catching up on things you missed in a class, still they will result in having less and less face-to-face interaction which is still needed especially when learning languages. I guess students will be tempted to miss classes more and more , even though the article suggested that using podcasts will encourage them not to do so!!
  • Knowing my own podcast history, I had to wonder just how quickly the students were jumping on board. Armed with my same recorder—though it was now slightly rougher for the wear—I asked students at colleges and universities across North America about their iPod and MP3 use, their familiarity with podcasting, and just how they saw podcasting as part of the classroom.
  • Knowing my own podcast history, I had to wonder just how quickly the students were jumping on board. Armed with my same recorder—th
  •  
    "Besides the entertainment value, Westfall and Finnegan say that the podcasts were especially useful for reviewing material. They used the podcasts as refreshers throughout the semester and during exam time. In addition, creating a segment meant that they had to brush up on their own knowledge of the subject."
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.
  • ...44 more annotations...
  • 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

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

a brief philosophy of "anti-teaching" | Savage Minds - 0 views

  • But while the sheer numbers of students are a burden in one sense, there is also tremendous potential. Think of the knowledge and life experience that is in that single room, if only I could find a way to harness it! I wanted the students to be fully engaged, talking to one another, grappling with interesting questions, and exploring any and all resources to find answers (and more questions). I wanted them to really get a strong sense of the importance of what we discuss in cultural anthropology. I wanted them to expand their empathy, to actually try to experience the life-worlds of others. Above all, I wanted them to recognize their own importance in helping to shape an increasingly globally interconnected world society.
  • World Simulation. Students are asked to imagine the world in the classroom. We create a map that mimics the geographical, environmental, and biological diversity of our real world. The map is laid onto a map of the classroom, and students are asked to imagine themselves living in the environment that maps onto them. The class is divided into 15-20 groups of about 12-20 students in each group. Each group is challenged to create their own cultures to survive in their own unique environments.
  • The creativity of the students in creating their cultures subverts any simple monocausal determinism (just as human creativity does in the real world). Environmental determinism is just one theory on the table as students try to create a reasonably realistic culture that could exist within their given environment. To add realism, students are required to provide comparisons to real life cultures at every step along the way, justifying why they have chosen to construct their culture in one way rather than another (sometimes creating elaborate histories to explain some unique characteristic). Three weeks before the end of the semester, all groups have completed their culture and submit a final ethnography to me. I read these over, and begin planning the main event: the world simulation.
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  • To Orange, I will show an actual example of a map in my next full post and explain more about the parameters that are given and what the students fill in themselves. You raise a much more important question though, about the necessity of simplifying in order for the simulation to work. This aspect of the simulation almost led me to abandon the whole thing as I started to think it through and plan for it. Instead I found two ways to deal with it: 1. I challenge my students to tell me where the simulation is oversimplified and make their own case for how the simulation should change for the next time it is performed. This way they are not simply accepting our imaginary world “as is” and are instead actively thinking about how the real world works and how we may have misrepresented it in our simulation. (Even if the simulation fails miserably, it has succeeded in getting students to think about how the world works!) 2. I encourage the students to use the simplification as a canvas on which they can build and/or interpret complexity. In a lecture format I only have so much time to cover the effects of colonization – perhaps 50 minutes – not enough to really explore all of the different facets. In the World Simulation I can encourage each student to think about how colonization would affect their culture in multiple ways and at multiple levels (e.g. infrastructure, social structure, superstructure). Sometimes this is to complex to be incorporated into the simulation, but they are asked to do a reflection paper immediately following the simulation in which they write their own “cultural history.” This written format allows them to explore some complexities they might not have had the time or means to express in the simulation.
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