Arguments for Augmentation
The researchers and educators in this small, emerging field see clear advantages to using real-world sites as the backdrop for educational games.
A major goal of Mentira is to motivate students "to get their heads out of the textbook" by showing them that language has a vibrant local context, Ms. Sykes says. By setting the story in a nearby neighborhood, she and Mr. Holden took advantage of its historic sites and folklore to integrate learning about its history and culture into the game
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in title, tags, annotations or urlCulture jamming - Wikipedia, the free encyclopedia - 0 views
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An Interview with Michael Wesch - Part 1 of 3 | November Learning - 0 views
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This episode is the first of a three part conversation between Alan November and Michael Wesch, Assistant Professor of Cultural Anthropology and Digital Ethnography at Kansas State University. In this segment, the two discuss the need for teaching social responsibility to students and what important basic skills students and teachers need to know. Additionally, the two discuss whether students are having a loss or gain of identity by working online.
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'Augmented Reality' on Smartphones Brings Teaching Down to Earth - Technology - The Chr... - 1 views
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Mr. Gagnon is the lead developer of a software tool called ARIS, or Augmented Reality and Interactive Storytelling. ARIS lets designers link text, images, video, or audio to a physical location, making the real world into a map of virtual characters and objects that people can navigate with iPhones, iPads, or iPod Touches.
Medieval Multitasking: Did We Ever Focus? | Culture | Religion Dispatches - 0 views
www.religiondispatches.org/...ultitasking:_did_we_ever_focus
medieval multitasking internet hyperconnected
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Open Culture - 0 views
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Do You Speak "Academia"? » Edurati Review - 0 views
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the opening main clause, “Education is an all-encompassing institution,” makes little sense, and the rest of the sentence fails to clarify its meaning. The use of “each and every” is redundant; if each continent and culture, then, by default, it is every continent and culture. After the semicolon, good verbs become weak adjectives: functional and organizational. The entire paragraph could be restructured as an easily understood sentence: In every society, schools organize, function, and operate similarly.
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Why pick on paragraphs pulled from their contexts? If you read (or try to read) educational journals, you’ll find that these examples are not isolated. They illustrate the “academic style” characterizing such periodicals. These periodicals, their supporters argue, provide the link between research and classroom practice. But the poor communication—the academic writing—requires the reader to add steps to the usually efficient cognition of comprehension. The reader is forced to pause and ask, “What does that mean in plain English?” It’s not that different from reading text in a second language, one in which the reader may be knowledgeable but not proficient.
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This additional distance between the writer and reader decreases the likelihood that the journals will actually be read. And if the journals are not read by teachers, the research will be slow to influence educational practice, if it does at all.
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We are spending time, effort, and sometimes money on research doomed to remain idle because it’s not communicated well. The poor writing prevents worthwhile application.
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If understanding depends on translating the language, students who struggle with this prerequisite may lack the motivation or inertia to think beyond, or even through, the interpretation. We’re making understanding more difficult—a seeming antithesis to our role as educators.
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Why can’t “academic” journals and textbooks utilize common principles of good writing. Why do we insist on communication complexity when our goals would be better served by simple clarity?
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Status? Are we insisting on “academic writing” because it separates journals from the “rags” intended for the masses or textbooks from the unlearned? If so, our goal must be to maintain some perceived elite readership—a readership probably not teaching or sitting in our classrooms.
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Do we think that our research and subject matter is complicated, therefore our communicating should also be complex? This is so contrary to logic and sound teaching that it’s an oxymoron.
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A complex topic requires simple writing, especially when the reader likely lacks the author’s background knowledge and experience. This is almost always the case when a researcher seeks to address individuals who were not part of the research team or involved in similar research themselves, or when experts in a field seek to articulate concepts for students.
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Medina presents ideas simply and in ways known to foster learning. As the brain engages in elaboration, it overlays new data with known experiences, making connections that help construct understanding. Medina relates a new, complex topic to a familiar childhood activity—origami (even though he is not writing for children). By giving us a reference point for understanding DNA, he equips us with the tools needed to construct understanding. Isn’t this what we should be striving for, both in our textbooks and our journals?
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Education - One Day On Earth - 0 views
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Across the planet, documentary filmmakers, students, and inspired citizens will record the human experience over a 24-hour period. By participating in this historic event, you will help capture the diversity of life and culture on this planet. Together we will create a document that is a gift to the world.
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The Souls of the Machine: Clay Shirky's Internet Revolution - The Chronicle Review - Th... - 0 views
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He argues that as Web sites become more social, they will threaten the existence of all kinds of businesses and organizations, which might find themselves unnecessary once people can organize on their own with free online tools. Who needs an academic association, for instance, if a Facebook page, blog, and Internet mailing list can enable professionals to stay connected without paying dues? Who needs a record label, when musicians can distribute songs and reach out to fans on their own?
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"More people can communicate more things to more people than has ever been possible in the past, and the size and speed of this increase, from under one million participants to over one billion in a generation, makes the change unprecedented."
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in his latest book, Cognitive Surplus: Creativity and Generosity in a Connected Age, scheduled to appear from Penguin Press this month. In it, he urges companies and consumers to stop clinging to old models and embrace what he characterizes as "As Much Chaos as We Can Stand" in adopting new Web technologies. He presses programmers and entrepreneurs to throw out old assumptions and try as many crazy, interactive Web toys as they can—to see what works, just as the students here do.
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He figures all of Wikipedia, his gold standard for group activity online, took about 100 million hours of thought to produce. So Americans could build 2,000 Wikipedia projects a year just by writing articles instead of watching television.
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Those new activities—and he gives plenty of examples in the book of projects already under way—could center on charity, civic engagement, coping with diseases, and more.
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He points out that in the several decades immediately following Gutenberg's first Bible, not much really changed in European information society. Much later, some world-changing ideas came along on how to use the printing press, like the Invisible College.
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"The problem with alchemy wasn't that the alchemists had failed to turn lead into gold—no one could do that. The problem, rather, was that the alchemists had failed uninformatively."
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"Even when working with the same tools, they were working in a far different, and better, culture of communication."
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Today's open-source software and the hypersharing of social networks represent a new, better order. And we're only starting to see the impact of those inventions.
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Essentially, says Danah Boyd, a researcher for Microsoft Research and a longtime friend, Shirky thinks Karl Marx got it wrong. While critics like Slee may read any online social participation as economic exploitation, Shirky argues that people are motivated by love, not money. She points to Wikipedia: "People contribute because they enjoy the process," she says. Or academe. "Are we doing it for the pay?" "There's a lot of labor of love. People like being a part of cultural production on every level."
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Shirky got the job at NYU because of a talk he gave at a technology conference in the late 1990s, while he was working as a freelance computer programmer and Web designer. T
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Drawn to the classroom, he approached Yale in 1995 about teaching a class there on online social groups. Though students there backed the idea, he says, a university committee turned him down. "They killed it because they said it doesn't really make sense to talk about community online because those people aren't really meeting each other," he says.
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Living Epic: Video Games in the Ancient World: Operation LAPIS is ĪTE! - 0 views
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The Cape Town Open Education Declaration - 0 views
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The Internet provides a platform for collaborative learning and knowledge creation across long distances, which is central to the long term promise of open education. It also offers a channel for the creation and distribution of knowledge from a diversity of places and cultures around the world, and not just from major publishing centres like New York, London, and Paris.
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we believe that open education and open educational resources are very much compatible with the business of commercial publishing. The Declaration clearly states that the open education movement should "...engage entrepreneurs and publishers who are developing innovative business models that are both open and financially sustainable."
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here is likely to be some upheaval in formal educational systems as teachers and students engage in the new pedagogies that are enabled by openness. There might also be concerns that some of the deeper goals of the open education movement could backfire. For example, instead of enhancing locally relevant educational practices and rewarding those with regional expertise, it is possible that a flood of foreign-produced open educational resources will actually undermine the capacity for regional expertise to form or thrive.
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First, this is not actually a philanthropic endeavor in the classic sense of "donating" something to those with less. Instead, the open education movement promotes conditions for self-empowerment, and one of the central premises of the movement focuses on the freedom to be educated in the manner of one's choosing. Second, the permissions granted in defining an open educational resource explicitly enable the localization and adaptation of materials to be more locally appropriate. Every person should have the right to be educated in his/her native language, and in a manner that is most suitable to the personal and cultural contexts in which they reside. Third, we have good reason to believe that the contributions to the global open educational enterprise from those in resource-limited settings are at least as valuable as contributions from anyone else. While we have much to do to enable truly equitably participation among all of the citizens of the globe, there is widespread agreement that the ultimate goal is some type of open educational network, not a unidirectional pipeline.
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educational resources commissioned and paid for directly by the public sector should be released as open educational resources. This ensures that the taxpayers who financed these resources can benefit from them fully. Of course, this principle cannot extend to resources paid for indirectly with public funds, such as materials written by professors at public universities. The Declaration does strongly encourage these professors and institutions to make all of their resources open. However, in the end, this is their choice.
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resources should be licensed to facilitate use, revision, translation, improvement and sharing by anyone
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many of the participants advocated for inclusion of language that indicates that the license should ideally impose no legal constraints other than a requirement by the creator for appropriate attribution or the sharing of derivative works. This degree of openness represents the 'gold standard' in open educational resource licensing. However, it is also recognized that some authors and publishers may wish to disallow commercial uses (non-commercial). Resources licensed with this additional restriction are still open educational resources, but do come with risks and costs.
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we suggest that you use one of the Creative Commons (CC) licenses, for several reasons: The licenses have human-readable deeds, which is (generally) easier for people to understand.The licenses have a computer-readable component which enables search and filtering by license status, an increasingly important consideration in an era of exploding online content.The licenses have been ported to many countries around the world, with more being added every year, which guarantees their worldwide application and enforcement.The licenses are already the most frequently used licenses for open educational resources, which will make it easier for users to learn about their rights, as well as use the materials in interesting ways.
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Open educational resources licensed using CC-BY have no restrictions on use beyond attribution for the original creator. Open educational resources licensed using CC-BY-SA also require attribution, but have the additional restriction of requiring that the derived material be licensed in the same manner as the original(s), thus ensuring their continued availability as open educational resources.
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n most cases, the NC term is likely to have undesired repercussions for your work. If you are thinking of restricting commercial activity, ask yourself the following questions: What is the goal of doing so? Is it that the creators wish to make money from their contributions? Is this likely? Is it assumed that all for-profit activity is somehow inimical to education? What are the costs of restricting commercial use of open educational resources and do you wish to incur them? For example, is it your goal to forbid a for-profit publisher in a developing country from printing copies of your materials and distributing them there?
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If an author's primary purpose in creating open educational resources is for it to be used as widely, freely, and creatively as possible, then using CC-BY is the better choice
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CC-BY allows for a variety of motivations, including the possibility of commercial success, to drive users to adapt and re-purpose their materials.
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f an author's primary purpose in creating open educational resources is for that material to never leave the educational commons, such as it is, then you may want to apply the SA term. In this case, the possibilities for viable commercial derivatives, though not disallowed, are diminished, and so users motivated to adapt materials for that purpose are unlikely to participate. In addition, open educational resources licensed with an SA term are only interoperable with other SA materials, which seriously limits their capacity for re-mixing.
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There are two key points we would ask you to consider prior to applying the ND term. First, are you willing to prevent all of the wonderful ways in which your work might be improved upon just for the sake of preventing a few derivatives that you would consider inferior? It is worth remembering that it is the granting of freedoms to share, reprint, translate, combine, or adapt that makes open educational resources educationally different from those that can merely be read online for free.
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you must remember that digital resources are not consumable goods, in the sense that they can be shared infinitely without any loss of value for the original. As such, if inferior derivatives are created, those creations have done nothing to diminish the quality of your original work, which will remain available for others to use or improve upon as they wish.
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there is absolutely no restriction on use of public domain materials. In addition to being able to freely use such materials, you are free to adapt public domain materials and then license the derivative works in any way you choose, including standard all-rights-reserved copyright. You have to apply an open license if you want your contribution to add to the pool of open educational resources.
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Innovate - Backwards into the Future: Seven Principles for Educating the Ne(x)t Generation - 0 views
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In contrast to traditional English courses, which are mostly paper-based, our reading materials can all be found on the Web, and the students present their work in the form of interactive Web pages that are accessible to everyone in the class, thereby forging a virtual learning community to parallel the physical community of the classroom.
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Teaching to the future, we contend, involves forging pathways for our students that we do not necessarily intend to travel ourselves.
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With each new iteration of Poetry off the Page, our students' expertise has driven the course design, rather than vice versa.
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We provide ample support and encouragement to "trailing edge" students whose online capabilities barely extend beyond e-mail, but at the same time, we leave the door open for those at the leading edge to suggest innovations that we ourselves would be incapable of imagining, much less of implementing.
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By recasting students as researchers and teachers, we invite them to participate in what is arguably the most exciting and fulfilling aspect of university life: the production of new knowledge (Exhibit 2).
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We would be hard pressed to name a profession—including academe itself—that does not demand some ability to interact effectively with other human beings. Yet higher education remains, especially in the humanities, a highly individualistic enterprise. In a typical English course, students write their essays for an audience of one—namely, the instructor who does the grading—while "group discussions" frequently consist of individuals talking directly to the teacher with little regard for their peers. In a discipline built around the ideal of the lone genius, our epigraph to this section remains as wishfully subversive today as it was a century and a half ago.
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Teaching to the future involves harnessing the collaborative impulses already at large in digital culture and directing them toward educational ends, so that "group work" shifts in our students' perception from an eyeroll-inducing educational gimmick to a cutting-edge skill worthy of cultivation and scrutiny.
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Later, they take part in a formative peer assessment exercise during which we project draft versions of their final projects onscreen while classmates ask questions and provide suggestions for improvement. The success of this "Live Crit" session (a concept borrowed from architecture and the fine arts) reflects the atmosphere of collaboration and trust that we have consciously cultivated among the students all semester
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"The Poem of the Contents of Everybody's Pockets"; on the second day, we send them off around campus to chalk poems on the ground in public places; on the third day, we engage them in a critical analysis of both events, prompting them to come up with inventive ways in which such multifaceted live performances might be recorded (photographed? taped? videoed? narrativized?) for posterity.
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with the students' enthusiastic permission—as permanent exhibits in the Archives section of our course Web site
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Exhibit 3
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"In the coming decades," warns hypertext theorist Jerome McGann, "the entirety of our cultural inheritance will be transformed and re-edited in digital forms," a monumental task for which both we and our students remain, by and large, seriously underprepared (2005, 181).
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Beyond Campus Boundaries ePortfolio Transforms into 'Cultural Application' -- Campus Te... - 1 views
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The more engaged, the more time on task, the more that a person puts into something, the more they learn—this g'es along with all the data I’ve seen over the years. The challenge has always been, how do you engage students?
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Spanish Language & Culture | Home - 0 views
FreeCulture.org - Students for Free Culture - 1 views
Free Culture, Copyright and Open Video « in the wind - 0 views
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The Code of Best Practices in Fair Use for Media Literacy Education -- Publications --... - 0 views
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Common instructional activities include comparison-contrast analysis, deconstruction (close analysis) of the form and content of a message, illustration of key points, and examination of the historical, economic, political, or social contexts in which a particular message was produced and is received.
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These materials may include samples of contemporary mass media and popular culture as well as older media texts that provide historical or cultural context.
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Educators using concepts and techniques of media literacy should be able to share effective examples of teaching about media and meaning with one another, including lessons and resource materials
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Students include excerpts from copyrighted material in their own creative work for many purposes, including for comment and criticism, for illustration, to stimulate public discussion, or in incidental or accidental ways (for example, when they make a video capturing a scene from everyday life where copyrighted music is playing).
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Because media literacy education cannot thrive unless learners themselves have the opportunity to learn about how media functions at the most practical level, educators using concepts and techniques of media literacy should be free to enable learners to incorporate, modify, and re-present existing media objects in their own classroom work. Media production can foster and deepen awareness of the constructed nature of all media, one of the key concepts of media literacy. The basis for fair use here is embedded in good pedagogy.
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Students who are expected to behave responsibly as media creators and who are encouraged to reach other people outside the classroom with their work learn most deeply.
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In some cases, widespread distribution of students’ work (via the Internet, for example) is appropriate. If student work that incorporates, modifies, and re-presents existing media content meets the transformativeness standard, it can be distributed to wide audiences under the doctrine of fair use.
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educators should take the opportunity to model the real-world permissions process, with explicit emphasis not only on how that process works, but also on how it affects media making.
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