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By shifting the focus of our feedback to effort as opposed to outcome, we leave students with the feeling that their best is yet to come.

Every Friday, my students cap a week of learning with self-rating journal entries like "Something New I Learned" or "This Week's Memorable Moment." To test their grit, I've added a new prompt: "Something I Struggled With."

Finally, create a forum for class-wide discussion about grit at community meetings. These are scheduled, relaxed opportunities for students to sound off on issues affecting their class and their world

The reality is that devices are not going away, and we need to teach our students how to effectively manage them so that they can be successful in whatever they do.

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

Students get used to giving and taking critique daily with each other and hearing it from educators as well. Their ease with it comes from practice and with the awareness that feedback isn’t the end of the process, it’s a part of improving their work.

When evaluating student work, frame feedback in terms of the learner’s goals instead of referring to the standards. “Goals are more motivating for students to hear,”

Students want projects to be integrated across subjects, not separated by discipline.

High Tech Middle Chula Vista seventh grader Ana de Almeida Amaral described an integrated humanities and math/science project, when students read Sherlock Holmes, wrote their own versions, and became experts in one aspect of forensics.

Together they created a crime scene in their classroom and then taught everyone assembled about a part of the forensics process through a stop animation video.

“I love when projects are integrated so you can find so many different aspects,”

“If teachers give broad guidelines for the project and then have students do something they’re interested in it will bring students along the whole time,” said Gramann. “Treat students like adults. If the students feel like they’re worth it they’ll act more like adults.”

Authentic choice is one aspect of allowing that to happen. Students on the panel described real choices they make about their education on a daily basis, from which book they’ll read in Humanities to the different topics they want to research.

“Teachers tend to give projects and benchmarks and create topics around things that students don’t really connect to.” He was adamant that learning how to connect a topic to oneself is the key to learning. “Throughout middle school you have to develop skills of how things connect to yourself,” he said.

“Collaborating productively is a leadership skill at this school,” said Dora Aguilar, a junior at City Arts and Tech, part of the Envision network. She says that while it can be hard, it can also be very rewarding because working with other people allows her to see the project through the eyes of her peers.

Other students talked about difficult collaborations too, emphasizing that it runs more smoothly if one group member agrees to keep everyone on track.

Theorists from Johann Heinrich Pestalozzi to Jean Piaget and Maria Montessori have argued that students should learn by playing and following their curiosity.

The study found that when the subjects controlled their own observations, they exhibited more coordination between the hippocampus and other parts of the brain involved in learning and posted a 23 percent improvement in their ability to remember objects. “The bottom line is, if you’re not the one who’s controlling your learning, you’re not going to learn as well,” says lead researcher Joel Voss, now a neuroscientist at Northwestern University.

A similar study at UC Berkeley demonstrated that kids given no instruction were much more likely to come up with novel solutions to a problem.

Relevance: the information's level of importance to a particular reading purpose or explicitly stated need for that information Accuracy: the extent to which information contains factual and updated details that can be verified by consulting alternative and/or primary sources Bias/Perspective: the position or slant toward which an author shapes information Reliability: the information's level of trustworthiness based on information about the author and the publishing body

Verify and refute online information Investigate author credentials Detect bias and stance Negotiate multiple perspectives

Cross-checking claims between multiple sources (see Figure 2) can help adolescents: Recognize ideas they might otherwise ignore Weigh the usefulness (and reliability) of these ideas against what they previously believed to be true Consider that new ideas may actually be more accurate than their original thinking

To that end, I will close with a list of strategies to use or adapt to fit your students’ needs as they refine their ability to think critically while conducting online research: Is this site relevant to my needs and purpose? What is the purpose of this site? Who created the information at this site, and what is this person's level of expertise? When was the information at this site updated? Where can I go to check the accuracy of this information? Why did this person or group put this information on the Internet? Does the website present only one side of the issue, or are multiple perspectives provided? How are information and/or images at this site shaped by the author's stance? Is there anyone who might be offended or hurt by the information at this site? How can I connect these ideas to my own questions and interpretations?

Energy expenditures continued to decrease even after the decline in muscle activity had stabilized

even after participants had fine-tuned their muscle movements, the neural processes controlling the movements continued to grow more efficient. The brain uses up energy, too, and through overlearning it can get by on less. These gains in mental efficiency free up resources for other tasks:

Less effort in one domain means more energy available to others.

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?

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 allows you to gain access to the ‘collective intelligence’ of the internet.

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!

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.