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Among the formats successful for this purpose are songwriting, choreography, and artistic renditions such as painting, sculpture, collage, and graphic art.

Other formats that cross over disciplines include comic books/graphic novels and documentary making

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.

The information gleaned from this survey allows me to carefully craft a personalized learning experience for our attendees by steering clear of familiar apps, providing a deeper focus on a particular skill, or discovering solutions for grouping attendees to achieve optimal collaboration within the day.

As educators, we frown upon one-size-fits-all education and preach personalized learning, yet we still deliver canned in-services and seminars time and time again, never addressing the needs of a specific audience of learners

Neither school leaders nor teachers have had a framework or vocabulary to examine grading and understand its inequities, to recognize the harms of century-old grading practices, and to identify and implement more inclusive and accurate grading.

Our current grading practices were created during the Industrial Revolution, shaped by our country’s early 20th-century cultural dynamics and demographics, and founded on beliefs about teaching, learning, and human potential that have since been thoroughly debunked and disproven.

we believed that humans were effectively motivated by extrinsic rewards and punishments—think rats taught to pull a lever by offering pellets or electrifying the cage floor—a belief that underlies teachers’ constant use of “points” to incentivize (and some might say control) student behaviors, such as coming on time to class or completing homework.

intrinsic motivation—the kind of motivation that generates creative thinking and fuels effective learning—is undermined by extrinsic rewards and punishments. In other words, our continued use of points to motivate students is demotivating them from learning.

Teachers also frequently use mathematical calculations that hide student growth and handicap students who struggle.

Averaging his performance doesn’t accurately describe his skills, and it hides all his growth and improvement.

She then sent an open invitation to any teacher who wanted to dig deeper into grading—to research, examine, and imagine ways to align grading to the school’s vision for progressive and equitable education.

Homework can be an important element of learning, but when teachers include students’ performance on that homework in the grade, they incorporate an institutional bias that rewards students with resources and impedes students without resources, effectively replicating intergenerational disparities of race and income.

Teachers use points to evaluate every action or assignment in a class, which creates pressure-cooker classrooms where no accomplishment goes unrewarded and no mistake goes unpenalized.

Effective teacher-student relationships require the opposite: a space to take risks without penalty, to disclose weaknesses without being judged, to feel safe simply knowing that you don’t have to perform perfectly every moment.

But, as many parents, teachers, and school administrators are frequently stunned to learn, many common grading practices are outdated, inaccurate, and undermine student success. In fact, many grading policies—which appear to be an objective, fair, and accurate method to describe a student’s academic performance—often increase achievement gaps by infusing grades with teachers’ implicit biases or by rewarding or punishing students based on their families’ resources.

For example, if homework is indeed an opportunity for students to practice and to make mistakes, then we can’t include their performance on that homework in their grade.

I expect you to take risks and make mistakes and to share with me your academic confusion and weaknesses without fear that your grade will be lowered because of those mistakes.

tracking each earned or forfeited point for every activity or behavior reduces teachers to point-tabulators and accountants rather than supportive mentors and guides for students’ paths to success.

the way teachers graded often contradicted the school’s commitment to academic excellence as well as equity.

Our traditional practice of grading everything students do inadvertently sows distrust, shame, and deceit—which leads to students copying homework to earn points, not suggesting an answer if it might be wrong, rote note-taking only for the notebook check—thereby weakening the teacher-student relationship qualities that support learning.

grades must be accurate, validly reflecting a student’s academic performance; bias-resistant, preventing our implicit biases and subjectivity from infecting grades; and motivational, helping students strive for academic success, persevere, accept struggles and setbacks, and gain critical life skills.

This pilot group was also trained to use more equitable grading practices, which include employing a 0–4 point scale rather than a 0–100 percentage, incorporating retakes and redos, and ensuring that grades indicate how well students actually master subject matter than whether students’ behavior or work habits gain their subjective approval.

Students were less anxious and classroom environments felt more relaxed and supportive of learning, and grade inflation decreased because teachers no longer padded grades with points for participation or homework completion.

The teachers continue to track students’ participation and homework, but have expanded how they give feedback on those nonacademic skills: for example, with student conferences or separate reports and calls to parents. The school’s grades give more accurate information about where students are in their learning, and Previna and some teachers are beginning to imagine how their report card could communicate student achievement more accurately and equitably as well.

If we can improve how we grade, we will leverage significant improvements in every aspect of teaching and learning as well as our school cultures.

The rate of students receiving As decreases, and it decreases more dramatically for students from more resourced families. Grades are no longer rewarding students for just “doing school,” which disproportionately benefits students with more privilege, but grades instead reflect students’ actual academic performance. At the same time, the rate of students receiving Ds and Fs decreases, and does so more dramatically for vulnerable and historically underserved students (African–Americans, Hispanics, and students from low-income families). Grades are less susceptible to teachers’ biases and no longer filter students for privilege. There is a statistically significant increase in the correlation between students’ teacher-assigned grades and standardized assessment scores, suggesting that teachers’ grades more accurately describe their students’ performance. This correlation is particularly strengthened for students from lower-income families, suggesting that those students were more likely to have their performance misrepresented by traditional grading practices. Teachers and students report less stressful classrooms and stronger student-teacher relationships. Teachers find that learning and implementing these grading practices improves their work as educators and has led to improved student learning.

By not correcting grading practices, schools risk undermining other initiatives aimed at improving equity and make our schools less inclusive and supportive of every student.