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The next step in the process is for the lead editor to come to the next class meeting with a rough draft that they share with their team and me. The team then begins the process of revising, proofreading and editing, and designing the blog post. Again, I can use the revision history feature to monitor the transformation of the draft, verify that all team members are contributing, and provide feedback on the effectiveness of their work.

Angela Duckworth (1), an associate professor of psychology at the University of Pennsylvania, studied (among others) the performance of West Point cadets during basic training. She discovered that the most powerful predictor of success -- acceptance into the academy -- was grit. Duckworth calls grit "the tendency to sustain interest in and effort toward very long-term goals."

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 ability to concentrate was the strongest predictor of success.

He advocates for a “digital sabbath” everyday, some time when kids aren’t being distracted by devices at all. He’d also like to see schools building exercises that strengthen attention, like mindfulness practices, into the curriculum.

Perhaps the most well known study on concentration is a longitudinal study conducted with over 1,000 children in New Zealand by Terrie Moffitt and Avshalom Caspi, psychology and neuroscience professors at Duke University.

“The attentional circuitry needs to have the experience of sustained episodes of concentration — reading the text, understanding and listening to what the teacher is saying — in order to build the mental models that create someone who is well educated,” Goleman said.

“This ability is more important than IQ or the socio economic status of the family you grew up in for determining career success, financial success and health,” Goleman said.

These are signs that educators may need to start paying attention to the act of attention itself. Digital natives may need help cultivating what was once an innate part of growing up.

“There’s a need now to teach kids concentration abilities as part of the school curriculum,” Goleman said. “The more children and teens are natural focusers, the better able they’ll be to use the digital tool for what they have to get done and then to use it in ways that they enjoy.”

the idea of multitasking is a myth, Goleman said. When people say they’re  “multitasking,” what they are really doing is something called “continuous partial attention,” where the brain switches back and forth quickly between tasks.

“I don’t think the enemy is digital devices,” Goleman said. “What we need to do is be sure that the current generation of children has the attentional capacities that other generations had naturally before the distractions of digital devices. It’s about using the devices smartly but having the capacity to concentrate as you need to, when you want to.”

Moreover, most of the benefits we observed are significantly larger for minority students, low-income students and students from rural schools — typically two to three times larger than for white, middle-class, suburban students — owing perhaps to the fact that the tour was the first time they had visited an art museum.

Clearly, however, we can conclude that visiting an art museum exposes students to a diversity of ideas that challenge them with different perspectives on the human condition. Expanding access to art, whether through programs in schools or through visits to area museums and galleries, should be a central part of any school’s curriculum. <img src="http://meter-svc.nytimes.com/meter.gif"/> Brian Kisida is a senior research associate and Jay P. Greene is a professor of education reform at the University of Arkansas. Daniel H. Bowen is a postdoctoral fellow at the Kinder Institute of Rice University.

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 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!

15. Did I take advantage of spontaneous learning opportunities when students’ interests had obviously shifted, or did I maintain an inflexible mindset and vow to never deviate from an archaic lesson plan?

17. Was our class set up to promote creativity and collaboration or memorization and silence?

19. Were 21st Century skills embedded within daily assignments?

22. Did I gain professional wisdom by speaking to my collegial mentor?

25. Did I avoid professional negativity by declining to gossip at work?

24. Was the technology in my classroom used in an authentic manner? (Shannon Reed)

26. Did I manage my stress level by enjoying time with my family and friends, by exercising several times a week, by zoning out while engaged in a hobby, and by simply chilling out every once in a while?

28. Did I laugh often with students and colleagues?

31. Did I allow students to co-write their own project-based, learning contracts?

34. How many colleagues did I observe in-action in their classrooms this past school year?

did I remember the names of all co-workers?

39. How balanced were the assignments this year in terms of requiring creativity, practical thinking, and analysis? (Adam Johnson)

40. Did I participate in a professional learning community outside of my school via Twitter?

46. Did I consistently blog as a form of professional self-reflection?

47. Am I a stronger teacher today than when I first stepped into the classroom at the beginning of the school year?