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Bill Garr

iPad Pilot Launches in Texas University MBA Program - 0 views

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    ... I wonder who does accreditation for the University of the Incarnate Word?
theresa s

More Universities Announce iPad Experiments - Wired Campus - The Chronicle of Higher Ed... - 1 views

Beth Marhanka

http://www.olt.gov.au/project-adoption-use-and-management-open-educational-resources-en... - 0 views

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    "Although the Open Education Resources (OER) movement began almost a decade ago, the Australian higher education sector seems to still be resisting this movement. This project aims to develop a "Feasibility Protocol" to enable and facilitate the adoption, use and management of OERs for learning and teaching within higher education (HE) institutions in Australia. This project will also explore how OERs will enhance teaching and learning, enable and widen participation for key social inclusion targets in higher education, promote lifelong learning and bridge the gap between non-formal, informal and formal learning in Australia. This is very important for the development of Australian education nationally and internationally because it will support educational institutions that are currently limited by the lack of guidance regarding OERs, speed up the process of appropriate adoption of OERs and provide additional venues for universities to pursue innovative strategies to better support current students, attract new ones and be internationally recognised and competitive."
CNDLS Georgetown

iPad goes under the gauntlet - 0 views

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    Reed college, other trials
Per Hoel

Long Live the Web: A Call for Continued Open Standards and Neutrality: Scientific American - 0 views

  • Web evolved into a powerful, ubiquitous tool because it was built on egalitarian principles and because thousands of individuals, universities and companies have worked, both independently and together as part of the World Wide Web Consortium, to expand its capabilities based on those principles
  • Wireless Internet providers are being tempted to slow traffic to sites with which they have not made deals.
  • We could lose the freedom to connect with whichever Web sites we want
  • ...5 more annotations...
  • ecause the Web is yours.
  • also vital to democracy
  • freedom from being snoope
  • on, filtered, censored and disconnected
  • We create the Web, by designing computer protocols and software; this process is completely under our control. We choose what properties we want it to have and not have. It is by no means finished (and it’s certainly not dead). If we want to track what government is doing, see what companies are doing, understand the true state of the planet, find a cure for Alzheimer’s disease, not to mention easily share our photos with our friends, we the public, the scientific community and the press must make sure the Web’s principles remain intact—not just to preserve what we have gained but to benefit from the great advances that are still to come
theresa s

Patrick Powers | Web Communications | Social Media | Higher Education | St. Louis - 3 views

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    blog about social media & higher ed
Per Hoel

The Monthly - Up Front August 2008 :: Digital Art and Soul | The Center for Digital Sto... - 0 views

  • It’s the peculiar irony of storytelling that the more personal and specific a story is, the more universal its appeal. “Each man bears the entire form of man’s estate,”
  • Grounded, as our species is, in the tangible, sense-based world, we effortlessly grasp unique concrete details: a childish sketch of a castle, two beaming women in white gowns, a golden-brown blade of grass. By comparison, impersonal abstractions—dying children, gay marriage, environmental crisis—fail to gain traction on the slippery geography of human emotion, or register deeply in our memory.
  • The problem is, she frets (her Southern accent riveting every ear in the room), “I don’t have an interesting story.”
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  • “We’re all about the process,” Lambert concedes. “Almost any creative process helps open one’s heart, but digital storytelling has a particularly useful combination of intelligences, an interdisciplinary creative form that allows any number of ways to get to people.” Sometimes, he says, a specific image, usually a photograph, resonates with emotional significance for the creator
  • “The point of coming to the workshop is not to make a film that will make you famous,” he says. “The vast majority of our films don’t even make it to the Web.”
  • What she means is that she imagines (wrongly, as it happens) that the notebooks of the other workshop participants must be bursting with tales of epic drama. What she means is that hers is an ordinary human life
  • “Film,” Lambert claims, “enslaves us”—and he’s not referring only to work that is morally flawed, but that crafted with the best of intentions. Even when a commercial venture addresses a social ill, he says, citing The Burning Bed (the 1984 movie featuring Farrah Fawcett Majors as a victim of domestic violence), it fails to represent the idiosyncratic experience of a person who does not merely play a difficult role (in this case, that of a battered wife), but lives it. Just as learning to read was “a step out of slavery,” Lambert says, so “making your own movies is a step away from being dominated.”
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