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1) the ways they currently implement Twitter in their teaching and learning, 2) ideas for future development of Twitter-based assignments and pedagogical practices, and 3) issues concerning the integration of Twitter and other digital media into both traditional and non-traditional pedagogies. Collaborators should feel free to add material to these pages, to comment on existing material, and to share links to relevant external readings and resources. It may be helpful to tag your contributions with your Twitter handle. Collaborators are asked to please respect this space as a forum for open and respectful dialogue and networking. Let's fill up the pages below with great ideas!  Share the ways you currently implement Twitter in your teaching and learning: Students in my course New Information Technologies do an "Internet Censorship" project, focused on a specific country. I ask them to follow a journalist who tweets on that country as part of their research to understand the state of Internet freedom in the country they select. -- Lora Since shortly after Twitter was launched, I've experimented with various iterations of "The Twitter Essay," an assignment that has students considering the nature of the "essay" as a medium and how they might do that work within the space of 140 characters. -- Jesse (@Jessifer) In my fully online classes, I've started using Twitter to replace the discussion forum as the central location for student interaction. -- Jesse (@Jessifer) Show Tweets that have gotten people arrested and prompt discussion on whether it is fair that anyone be arrested for any Tweet in the US, who is likely to be arrested for their Tweets, what kinds of Tweets are likely to prompt arrest, etc. Students in my First Year Seminar course "The Irish Imagination: Yeats to Bono" developed a platform for digital annotation of Irish literature. Embedded in their platform was a twitter feed of relevant individuals/groups, makin

"... Reclaiming pedagogy as a form of educated and militant hope begins with the crucial recognition that education is not solely about job training and the production of ethically challenged entrepreneurial subjects and that artistic production does not only have to serve market interests, but are also about matters of civic engagement and literacy, critical thinking, and the capacity for democratic agency, action, and change. It is also inextricably connected to the related issues of power, inclusion, and social responsibility.[2] If young people, artists, and other cultural workers are to develop a deep respect for others, a keen sense of the common good, as well as an informed notion of community engagement, pedagogy must be viewed as a cultural, political, and moral force that provides the knowledge, values, and social relations to make such democratic practices possible. In this instance, pedagogy needs to be rigorous, self-reflective, and committed not to the dead zone of instrumental rationality but to the practice of freedom and liberation for the most vulnerable and oppressed, to a critical sensibility capable of advancing the parameters of knowledge, addressing crucial social issues, and connecting private troubles into public issues. Any viable notion of critical pedagogy must overcome the image of education as purely instrumental, as dead zones of the imagination, and sites of oppressive discipline and imposed conformity. ..."

¿Que es tor? ¿por que necesitamos el navegador tor? ¿quien usa el navegador tor? ¿como funciona el navegador tor? ¿de que nos protege tor y de que no nos protege? ¿que tiene que ver tor con la "deep web"? ¿quienes desarrollan tor?

¿Que es tor? ¿por que necesitamos el navegador tor? ¿quien usa el navegador tor? ¿como funciona el navegador tor? ¿de que nos protege tor y de que no nos protege? ¿que tiene que ver tor con la "deep web"? ¿quienes desarrollan tor?

"La propuesta de hoy consiste en que recuperemos los cuentos prohibidos, en nuestro país, durante la época de la Dictadura Militar del 76… El objetivo de esto es ofrecer la posibilidad de llevarlos al aula para que, junto con los alumnos y alumnas podamos vincularnos con: Las palabras, las imágenes, la fantasía, la imaginación que despierta, lo que su propia historia que nos evoca. Vamos a trabajar con los más chicos y con las más chicas uno de los cuentos de Elsa Bornemann: "Caso Gaspar" que pertenece al libro: "Un elefante ocupa demasiado espacio". En artículos anteriores hemos comentado que este cuento fue uno de los "prohibidos" (junto a todos los que integran el libro antes mencionado), a partir del año 1977, en el marco de una política de estricto control cultural, que impuso la censura como uno de los mecanismos para vigilar y eliminar maneras de pensar y sentir diferentes a las que la Doctrina de la Seguridad Nacional imponía."