Group items tagged

a PLC is typically: Face to face High accountability Comprised of colleagues from a face-to-face or daily environment Comprised of peers with similar professional responsibilities

Torrey Trust defines the PLN (PDF) as "a system of interpersonal connections and resources that support informal learning.

according to multiple, peer reviewed studies, simply being in an open network instead of a closed one is the best predictor of career success . . . the further . . . you go towards a closed network, the more you repeatedly hear the same ideas, which reaffirm what you already believe. The further you go towards an open network, the more you're exposed to new ideas

PLNs are typically: Online and open More informal Open to a free flow of ideas Often welcoming to newcomers

PLNs' weaknesses are: Teachers get excited about an idea but meet resistance in their local school. Teachers have no way to share and discuss ideas with their local school. Some educators use their PLN inconsistently and have no accountability to keep learning. PLNs can be overwhelming because it seems like too much, or users can't focus. Authentic conversations can become dominated by a few loud voices. Some hashtag founders exhibit territorial behavior that limits conversation. Trolls and spammers can derail hashtag conversations.

"Blend" your school's PLC by creating an online space for it. Make this a simple place to share resources and ideas gleaned from participants' PLNs. Many teachers don't collaborate online because it's just one more thing to do. Make it simple to share. Give the less social-media-savvy educators simple options such as an email subscription to a few blogs.

Encourage educators to share ideas. Set specific goals. You can't be everywhere and do everything. Focus can achieve incredible results if you're all searching your PLNs for new ideas to tackle a troubling issue in your PLC

5. Link the online and face-to-face worlds. Administrators and others should mention the online spaces in staff meetings. Likewise, an online reflection of something said at the PLC helps show continuity. Educators should see both the online and face-to-face spaces as substantial parts of their PLC.

Just ten years ago, we would not have imagined the need for “a guide to gathering, preserving, and presenting the past on the web.” Indeed, few of us knew the web existed. Even the editors of Wired ignored it in their inaugural issue.4 Ten years ago, we would have been objects of curiosity, if not derision, if we had proposed such a project.

The first advantage of digital media for historians is storage capacity—digital media can condense unparalleled amounts of data into small spaces.

The most profound effect, however, may be on tomorrow’s historians. The rapidly dropping price of data storage has led computer scientists like Michael Lesk (a cyber-enthusiast to be sure) to claim that in the future, “there will be enough disk space and tape storage in the world to store everything people write, say, perform, or photograph.” In other words, why delete anything from the current historical record if it costs so little save it? How might our history writing be different if all historical evidence were available?

a second and even more important advantage—accessibility.

Our web server at the Center for History and New Media (CHNM) gets about three-quarters of a million hits a day, but on September 11, 2002 (when people looking to commemorate the attacks of the previous year descended in droves on the September 11 Digital Archive that we organized in collaboration with the American Social History Project), we handled eight million hits—a more than ten-fold increase with no additional costs

But the flexibility of digital data lies not just in the ability to encompass different media. It also resides in the ability of the same data to assume multiple guises instantaneously. Although language translation software is still primitive, we are moving toward a time when words in one tongue can be automatically translated into another—perhaps not perfectly but effectively enough.

Flexibility transforms the experience of consuming history, but digital media—because of their openness and diversity—also alters the conditions and circumstances of producing history. The computer networks that have come together in the World Wide Web are not only more open to a global audience of history readers than any other previous medium, they are also more open to history authors. A 2004 study found that almost half of the Internet users in the United States have created online content by building websites, creating blogs, and posting and sharing files.

quantitative advantages—we can do more, reach more people, store more data, give readers more varied sources; we can get more historical materials into classrooms, give students more access to formerly cloistered documents, hear from more perspectives.

amlet on the Holodeck, her book on the future of narrative in cyberspace

o consider these “expressive” qualities we need to think, for example, about the manipulability of digital media—the possibility of manipulating historical data with electronic tools as a way of finding things that were not previously evident. At the moment, the most powerful of those tools for historians is the simplest—the ability to search through vast quantities of text for particular strings of words. The word search capabilities of JSTOR, the online database of 460 scholarly periodicals, makes possible a kind of intellectual history that cannot be done as readily in print sources.

Digital media also differ from many other older media in their interactivity—a product of the web being, unlike broadcast television, a two-way medium, in which every point of consumption can also be a point of production. This interactivity enables multiple forms of historical dialogue—among professionals, between professionals and nonprofessionals, between teachers and students, among students, among people reminiscing about the past—that were possible before but which are not only simpler but potentially richer and more intensive in the digital medium. Many history websites offer opportunities for dialogue and feedback. The level of response has varied widely, but the experience so far suggests how we might transform historical practice—the web becomes a place for new forms of collaboration, new modes of debate, and new modes of collecting evidence about the past. At least potentially, digital media transform the traditional, one-way reader/writer, producer/consumer relationship. Public historians, in particular, have long sought for ways to “share authority” with their audiences; the web offers an ideal medium for that sharing and collaboration.16

inally, we note the hypertextuality, or nonlinearity, of digital media—the ease of moving through narratives or data in undirected and multiple ways.

the problems of quality and authenticity emerge

Moreover, in general, the web is more likely to be right than wrong.

Consider, for example, the famous “photograph” of Lee Harvey Oswald and Jack Ruby playing rock music together in a Dallas basement. Such fake photographs have a long history; Stalin’s photo retouchers, for example, spent considerable time airbrushing Trotsky out of the historical record. But the transformation of the original Bob Jackson photo of Ruby shooting Oswald into “In-A-Gadda-Da-Oswald” did not require a skilled craftsman. George Mahlberg created it with Photoshop in forty minutes and it quickly spread across the World Wide Web, popping up in multiple contexts that erase the credit of the “original” counterfeiter.20

Is there some way to police the boundaries of historical quality and authenticity on the web? Could we stop a thousand historical flowers—amateur, professional, commercial, crackpot—from blooming on the web? Would we want to? Of course, issues of quality, authenticity, and authority pre-date the Internet. But digital media undercut an existing structure of trust and authority and we, as historians and citizens, have yet to establish a new structure of historical legitimation and authority. When you move your history online, you are entering a less structured and controlled environment than the history monograph, the scholarly journal, the history museum, or the history classroom. That can have both positive and unsettling implications.

Digital enthusiasts assume that the online environment is intrinsically more “interactive” than one-way, passive media like television. But digital technology could, in fact, foster a new couch potatoÐlike passivity. Efforts to create nuanced interactive history projects sometimes become quixotic when the producers confront the fact that computers are good at yes and no and right and wrong, whereas historians prefer words like “maybe,” “perhaps,” and “it is more complicated than that.” Thus the most common form of historical interactivity on the web is the multiple-choice test. But the high-budget version is little better. Take, for example, the History Channel’s website Modern Marvel’s Boys’ Toys, which is a combination of watching the cable channel and playing a video game. The true interactivity here comes when you click on the “shop” button. As legal scholar Lawrence Lessig has written pessimistically: “There are two futures in front of us, the one we are taking and the one we could have. The one we are taking is easy to describe. Take the Net, mix it with the fanciest TV, add a simple way to buy things, and that’s pretty much it.” At the same time, some wonder whether we really want to foster “interactivity” at all, arguing that it fails to provide the critical experience of understanding, of getting inside the thoughts and experiences of others. The literary critic Harold Bloom, for example, argues that whereas linear fiction allows us to experience more by granting us access to the lives and thoughts of those different from ourselves, interactivity only permits us to experience more of ourselves.25

Another concern stems more from the production than the consumption side. Will amateur and academic historians be able to compete with well-funded commercial operators—like the History Channel—for attention on the Net?

Designate a sharing day or time when everyone gets to talk with the group about their projects.  Set up a Skype or Google Hangout with another school and have your students share their projects with them (hello joint design challenges!).

 Plan a school-wide Maker Fair where students can showcase projects they’ve created.

Come up with a name for your club together.  Design t-shirts.

Share planning duties with a fellow teacher.

Forest Lake started with just one computer in each classroom

Edmodo as an all encompassing classroom management/teaching and learning/collaboration system.

My favorite feature of Edmodo and a big difference between itself and blogging. I’ve written a few posts on how I’ve used groups to organize my lessons with different small groups.

It’s simply a feature blogging doesn’t offer

convenience and ease of creating groups for different subjects or smaller groups within that group so that specific groups of children can collaborate and discuss.It takes no time to set the groups up and they can be altered at any time.

the simplicity of the Edmodo discussion wins me over compared to blogging. Simply add a note explaining the topic of the discussion, which can include images, videos, embedded links to other web tools, links to other sites, click Add and the discussion begins. All it takes is to hit the Reply button and the discussion is in full swing. The one feature I would like Edmodo to add is the ability to reply to a specific comment like you can in blogs. It can be a bit cumbersome having to write a reply to someone who wrote something 10 comments back.

sharing files is very easy with Edmodo

the polls and quizzes on Edmodo can be created much more quickly, albeit only by the teacher

Extrinsic motivation through Badges - Not everyone’s cup of tea, but if you like to use stickers or awards, Edmodo has its own reward system called badges. You can create your own (but it’s a lot easier to just grab badges already created by other Edmodo teachers – I’ve collected 190 of them from my connections) and to encourage or acknowledge student effort or work, you can simply select their name in your class list, select a badge and award it to the students

a good way to collate a whole bunch of comments for your student reports without doing any more work than giving that badge toa student.