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PosterMyWall (4) is a fantastic tool for creating artistic, high-quality posters (5), collages, photo calendars and/or photo cards that can either be shared online or printed out and inexpensively shipped home.

PosterMyWall is slightly restricted in terms of the amount of options available for customization (mostly pictures and text), but other services, such as Glogster (6), offer a wider range of options.

Screencast-o-matic (7) is a powerful screen recorder that allows users to capture anything (8) happening on their screen, as well as voice and video from the webcam for up to 15 minutes in the recorder's free version.

Some high-quality alternatives to Screencast-o-matic are Jing (9) and Ezvid (10), both of which are very powerful and offer unique features.

Padlet (11) is another free program that facilitates the creation of virtual walls (12) where students and teachers can post sticky notes with almost anything they want.

Other similar sites are Linoit (13) or NoteApp (14).

students would work with JeffDESIGN over the summer to learn valuable lessons about what it takes to get an idea from concept to production in the real world.

We have adopted the free and fabulous EPICS—Engineering Projects In Community Service—as the heart and soul of our program this year.

I love that the EPICS framework is just that—a framework. It provides a flexible structure I can modify as necessary to suit our processes and needs.

When we are done, we’ll have a powerful, document-driven, human-centered methodology to guide our work in design.

The new school year has gotten off to a good start. We’re creating an entirely new understanding of design thinking in Digital Shop, an amalgam of our shared past experiences and the practices of some of the world’s best design thinking practitioners. It’s ridiculously hard work, alternatively frustrating and exhilarating, but totally worth it.

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?

Set up the environment so that students will be speaking and debating with each other in the roles of their historical characters and around a framing problem or issue

Bring in a variety of sources for students to analyze and research.

Social media is a wonderful connector for these kinds of simulations, with students setting up Edmodo, Schoology, or Facebook pages for their characters in a simulation, figuring out friend groups, posting photos, and speaking from their character's point of view.

Evernote doesn't give teachers any way to moderate its use by students.

Evernote isn't publicly viewable, either.

what Three Ring offers that Evernote doesn't is teacher-created class accounts. In other words, teachers initiate the use of Three Ring in the classroom by creating classrooms within the teacher account and adding students to each class

Three Ring

students can create and upload content from their own devices and tag, search and share their portfolios

Three Ring even allows parents to view their students' accounts once linked by the teacher

This is the effect of good portfolios. They craft a narrative of learning, growth and achievement over time.

If your school is fueled by Google Apps for Education, then using Google Sites (3) to create student portfolios, or "Googlios," makes perfect sense.