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Barbara Lindsey

Dissertation Couros FINAL 06 WebVersion - 0 views

www.scribd.com/...ion-Couros-FINAL-06-WebVersion

dissertation Couros OpenSource education

shared by Barbara Lindsey on 11 Apr 09 - Cached
  • Barbara Lindsey on 11 Apr 09
     
    PhD Dissertation - Examining the Open Movement: Possibilities and Implications for Education web2.0 dissertation opensource socialnetworks Education-Teaching
Barbara Lindsey

read-write web vs. academic publishing « an academic at work - 1 views

enzaac.wordpress.com/...ite-web-vs-academic-publishing

aroundtheworld beyondwebct education tenure web2.0

shared by Barbara Lindsey on 27 Sep 08 - Cached
  • The question I have been pondering lately is this: What role does a read-write web platform play in the dossier of an academic?
  • ’ve been truly fortunate to have had a paper accepted by the official journal of the American Council for Foreign Language Educators, which has a circulation of approximately 10,000 subscriptions in membership and also has found in approximately 1000 libraries.
  • Now, let’s turn to the world of the read-write web. Perhaps I wouldn’t be able to determine with certainty how many people read it, but I could see how many views my article gets,
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  • Would any member of the administration of an American college or university consider the number of hits, favorites, downloads, etc. as valuable for a decision on hiring, tenure, promotion, recognition, etc.? I believe in the age of web 2.0, where social networking fosters an environment for sharing and transmitting knowledge (no longer limited to the ivory-tower library), we can’t ignore the importance of web views.
  • Barbara Lindsey on 27 Sep 08
     
    The question I have been pondering lately is this: What role does a read-write web platform play in the dossier of an academic?
Barbara Lindsey

Educational Leadership:Giving Students Ownership of Learning:Footprints in the Digital Age - 0 views

www.ascd.org/...prints_in_the_Digital_Age.aspx

web2.0 willrichardson pln digitalfootprint socialnetworking Glastonbury

shared by Barbara Lindsey on 12 Dec 08 - Cached
  • This 10-year-old probably still needs to learn many of these things, and she needs the guidance of teachers and adults who know them in their own practice.
  • We must help them learn how to identify their passions; build connections to others who share those passions; and communicate, collaborate, and work collectively with these networks. And we must do this not simply as a unit built around "Information and Web Literacy." Instead, we must make these new ways of collaborating and connecting a transparent part of the way we deliver curriculum from kindergarten to graduation.
  • Younger students need to see their teachers engaging experts in synchronous or asynchronous online conversations about content, and they need to begin to practice intelligently and appropriately sharing work with global audiences. Middle school students should be engaged in the process of cooperating and collaborating with others outside the classroom around their shared passions, just as they have seen their teachers do. And older students should be engaging in the hard work of what Shirky (2008) calls "collective action," sharing responsibility and outcomes in doing real work for real purposes for real audiences online.
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  • we educators must first own these technologies and be able to take advantage of these networked learning spaces. In this way, we can fully prepare students not just to be Googled well, but to be findable in good ways by people who share their passions for learning and who may well end up being lifelong teachers, mentors, or friends.
  • So what literacies must we educators master before we can help students make the most of these powerful potentials? It starts, as author Clay Shirky (2008) suggests, with an understanding of how transparency fosters connections and with a willingness to share our work and, to some extent, our personal lives. Sharing is the fundamental building block for building connections and networks;
  • In all likelihood, you, your school, your teachers, or your students are already being Googled on a regular basis, with information surfacing from news articles, blog posts, YouTube videos, Flickr photos, and Facebook groups. Some of it may be good, some may be bad, and most is beyond your control. Your personal footprint—and to some extent your school's—is most likely being written without you, thanks to the billions of us worldwide who now have our own printing presses and can publish what we want when we want to.
  • This may be the first large technological shift in history that's being driven by children. Picture a bus. Your students are standing in the front; most teachers (maybe even you) are in the back, hanging on to the seat straps as the bus careens down the road under the guidance of kids who have never been taught to steer and who are figuring it out as they go. In short, for a host of reasons, we're failing to empower kids to use one of the most important technologies for learning that we've ever had. One of the biggest challenges educators face right now is figuring out how to help students create, navigate, and grow the powerful, individualized networks of learning that bloom on the Web and helping them do this effectively, ethically, and safely.
Barbara Lindsey

Report: Social Web Usage Tipped in 2008 - ReadWriteWeb - 0 views

www.readwriteweb.com/...cial_web_usage_tipped_2008.php

readwriteweb web2.0 adoption

shared by Barbara Lindsey on 24 Oct 08 - Cached
  • A new report by Josh Bernoff of Forrester Research states that usage of social technologies increased markedly in 2008: three in four US online adults now use social tools to connect with each, up from 56% in 2007. According to the report, the largest growth came from ratings and reviews, "voting" on websites, and user-generated video. Blogging and tagging were also popular.
  • Forrester has come up with different categories of social media usage (see image below). It claims that Creators are still growing slowly (it's now 21%), but "Critics" have increased more (to 37%). Critics are defined as people who post online reviews and comments. Collectors are at 19%, Joiners 35% and unsurprisingly "Spectators" are the biggest group with 69% of US online adults 'consuming' social media.
  • As report author Josh Bernoff notes in a blog post, the growth in consumption of online content is mostly coming from older people: "social activity is way up among 35-to-44 year-olds, especially when it comes to joining social networks and reading and reacting to content. Even among 45-to-54 year-olds, 68% are now Spectators, 24% are Joiners, and only 28% are Inactives."
Barbara Lindsey

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

connect.educause.edu/...44592

web2.0 mashup educause

shared by Barbara Lindsey on 01 Dec 08 - Cached
  • 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.
  • Electronic transmission has already inspired a new concept of multiple-authorship responsibility in which the specific concepts of the composer, the performer, and, indeed, the consumer overlap. . . . In fact, implicit in electronic culture is an acceptance of the idea of multilevel participation in the creative process.2
  • It is common to assume that remakes or reworkings are inherently lesser forms of creation than something that is "original" and that free reuse somehow degrades the value of the source. Modern copyright law and the intense social stigma associated with a term such as plagiarism speak to such assumptions.
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  • In his recent 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
  • He asserts that visual, sound, and text collage "might be called the art form of the twentieth century, never mind the twenty-first."
  • Lethem concludes: "Finding one's voice isn't just an emptying and purifying oneself of the words of others but an adopting and embracing of filiations, communities, and discourses."
  • 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. 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.
  • The result has been a flood of work created by largely anonymous media artists who are reimagining the iconography of popular culture, unearthing forgotten artifacts and contextualizing them anew. One only has to spend an hour surfing YouTube.com to get a sense of the subversive fun being had by hundreds of thousands of culture mashers.6
  • he statement "users will never add metadata" was becoming a mantra at gatherings of increasingly frustrated learning object promoters (again, I was often present) and 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.
  • 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.
  • Pageflakes (http://www.pageflakes.com/), another RSS-based personal portal, supports a number of education-specific templates for tracking grades and displaying class schedules along with resources; pages with such sensitive information can also be made private.13
  • nother Pipe that Hirst has created is the "OpenLearn Unit Outlinks Search Hub Pipe," which extracts "all the outgoing links from a course unit, then feeds these into a Yahoo Search pipe, which uses the domains as search limits for the search."20 In other words, this Pipe can create a filtered search of trusted domains that are relevant to a particular course, and the filtered search will adjust automatically as new links are added to the course materials. Of course, this added functionality requires open content and a reusable data format in order to work properly.
  • If the course unit in question is locked away in a course management system behind a password firewall, Pipes cannot access the data required to create the customized search. 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.
  • . Working with the Scottish students they could then find out the stories behind these artefacts and create a Google Map which tracks these stories geographically, historically and anecdotally."21
  • All too often, college and university administrators react to this type of innovation with suspicion and outright hostility rather than cooperation. Witness the recent case at Harvard, where students, frustrated with the quality of the official institutional Web portal, decided to build their own portal, entitled Crimson Connect (http://www.crimsonconnect.com/), using RSS feeds and, for the most part, existing free software tools. University officials responded by demanding the removal of material that had been syndicated from password-protected course pages.25
  • 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.
  • Two of my favorite YouTube clips are the remix of The Shining's trailer (http://www.youtube.com/watch?v=iVjl7gK4HGU) and the mashup of the original Star Trek TV series with a Monty Python song (http://www.youtube.com/watch?v=eEnyT0_BjxA). These two videos themselves illustrate the difference between a remix and a mashup.
Barbara Lindsey

FINAL REPORT | DIGITAL YOUTH RESEARCH - 0 views

digitalyouth.ischool.berkeley.edu/report

research education youth web2.0

shared by Barbara Lindsey on 05 Dec 08 - Cached
  • Barbara Lindsey on 05 Dec 08
     
    "Kids' Informal Learning with Digital Media: An Ethnographic Investigation of Innovative Knowledge Cultures" is a three-year collaborative project funded by the John D. and Catherine T. MacArthur Foundation
Barbara Lindsey

digital digs: Richard Miller's MLA Dream - 1 views

www.alex-reid.net/...richard-millers-mla-dream.html

mla youtube humanities web2.0 teaching research

shared by Barbara Lindsey on 16 Jan 09 - Cached
  • How long do we have before someone comes along and just imposes something or simply supplants us? 30 years? 20 years? Will it begin in as little as five or ten years? Think about Wall St and the auto industry before you answer.
  • A liberal arts college creates a digital humanities center. The center starts to get grants and increasingly becomes better funded by the institution. Faculty from across humanities departments interested in the digital become more closely tied to the center than to their departments. Humanities curriculum become increasingly driven by the Center. Hiring and tenuring priorities still ostensibly in departments start to reflect the priorities of the Center and the faculty associated with it. Graduate students increasingly work with faculty whose interests are as much in the Center as they are in the department. You start to get new interdisciplinary or postdisciplinary programs. Departments get squeezed to the periphery. Faculty in such centers around the nation establish new professional organizations and new national conferences. They get funding for new publishing venues.
  • Miller sees the necessity for developing new media composing pedagogies that foster creativity and collaboration, for preparing faculty to teach in this way (and compose themselves in this way), and for building spaces where such activities might be possible.
Barbara Lindsey

Foreign Language Faculty in the Age of Web 2.0 (EDUCAUSE Quarterly) | EDUCAUSE - 0 views

www.educause.edu/...163095

educause web2.0 highered faculty languages

shared by Barbara Lindsey on 06 Dec 09 - Cached
  • graduate students interested in becoming acquainted with relevant instructional technologies have a limited number of options. Few graduate programs include such training as a part of the curriculum. As a matter of fact, pedagogy itself often represents a negligible fraction of graduate program requirements. The University of Minnesota offers excellent training through its summer institutes,4 but access is an issue. Most IT departments offer training sessions on how to use the university course management system, build a web page, or create a PowerPoint presentation, but technical training is not enough.
  • Today, language centers are the only campus units where such a wide range of expertise can easily be found.
  • The role of language technologists goes beyond teaching what a blog is and how to set up a browser to display Japanese characters. It includes sorting through novel technologies, evaluating their instructional potential, researching current educational uses, and sharing findings with educators. The most promising applications available today were not designed for instructional use and do not come with an instruction manual. To use them in the classroom requires the ability to redirect their intended purpose and, more importantly, to think through possible consequences of doing so.
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