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increased competition to get into college meant well-off parents began heavily scheduling their kids’ after-school lives.

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?

e

vigilant.

B

Respond quickly and consistently to bullying. Always try to stop bullying on the spot, as it can stop bullying behavior over time. Do not ignore the situation and assume that the issue will resolve on its own. Avoid forcing the bully and victim to “work it out” on the spot. Get medical attention or police help if warranted.

Incorporate bullying prevention activities in lessons. Get creative. Students can learn how to respond to bullying, how to report it (including cyberbullying) to teachers and staff, and the role they play in fostering a culture of safety, inclusion, and respect at school.

Conduct school-wide bullying assessments and evaluation prevention efforts. Refine plans as necessary.

Bullying generally happens in areas where supervision is limited – playgrounds, crowded hallways, lunchrooms, school buses, etc. Monitor these hot spots.

Sonic Pi teaches coding through music. Students basically build a synthesiser, thus accidentally learn concepts such as logic, sequencing, iteration and conditionals while doing something creative and imaginative.

when they found other people commenting on the blogs, they were even more engaged.

These social learning activities do not just aid learning through student motivation, they can also help to build the social skills or ‘grit’ that UK schools are now compelled to teach. When interacting online students learn that it is important to emphasise positives, celebrate success, to be constructive and also learn how to take criticism thus they learn conscientiousness, teamwork and resilience.

There is moderately strong evidence for an association between screentime and depressive symptoms. This association is for overall screentime but there is very limited evidence from only one review for an association with social media screentime. There is moderate evidence for a dose-response effect, with weak evidence for a threshold of ≥2 hours daily screentime for the association with depressive symptoms.There is moderate evidence for an association of screentime with lower HRQOL, with weak evidence for a threshold of ≥2 hours daily screentime.

There is weak evidence that screentime is associated with poor sleep outcomes including delay in sleep onset, reduced total sleep time and daytime tiredness.

There was moderately strong evidence for an association between screentime and depressive symptoms, although evidence for social media screentime and depression was weak.

Evidence that screentime was associated with poorer quality of life was moderate,

We found no convincing evidence of health benefits from screentime. Yet some argue strongly that digital media have potential significant health, social and cognitive benefits and that harms are overstated.

we need to be active, trusting, and respectful participants in the digital lives of young people.

Our young people are still learning their way around the digital landscape largely on their own — when what we need to do is confidently take them by the hand, show them how to look both ways, and cross the street with them — at least at first. That means staying up-to-date about digital safety, the rules of the road, and what’s going on in the neighborhood. Finally, we need to foster the kinds of personal relationships that encourage our kids to talk about where they are going and what they discover along the way (their successes as well as their mistakes) once we let them travel on their own.

y, “Digital Generation: Parents,” is a good place to start.

read Clay Shirky’s Cognitive Surplus (on social media

Jane McGonigal’s Reality Is Broken (on video games). If you want to try to keep up with the moving target of day-to-day digital parenting, I recommend Marti Weston’s information-packed, down-to-earth blog, Media! Tech! Parenting!

inspired by Adora Svitak,

Equally inspiring is nine-year-old Martha Payne, whose blog NeverSeconds, about the lunches served at her school in Scotland, sparked a national controversy about school nutrition that attracted the attention of celebrity chef Jamie Oliver

Some people call it a digital footprint, others a digital tattoo. As a parent, you are no doubt concerned about the possible missteps your children may take

the digital “brand” that will follow them for life.

although your children are already comfortable interacting online, they don’t yet necessarily know how to translate their skills into products that show them at their best

create “a portfolio of work that is both public and interactive, that reflects the potential of the online world and that serves as a solid foundation for a lifetime of participation online.”

Those of us in education need parents like you to be involved as active and open learners about the digital world, learners who can engage with us, their children and their children’s teachers, in much-needed conversations about digital matters.

Diigo has tools that encourage students to collaborate with others to analyze, critique, and evaluate websites.

Diigo provides opportunities for students to apply higher level thinking skills while researching and gathering information.

Diigo provides a lists feature that allows you to share carefully selected bookmarked websites with your students.

Use Diigo to provide visual access to websites you have collected using the built-in program ‘webslides’.

Use Diigo’s advanced tools to link its power to blogs and RSS. Lists of similar websites that you have created can easily be posted onto a blog by using the ‘post to blog’ button.

Use Diigo tools to enhance professional reading and save time creating summaries of online posts.

Access your information from any computer, or even your iPhone or iPad!