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anonymous

Social media savvy: the universities and academics leading the way | Higher Education N... - 0 views

  • David White makes the distinction between people who choose to integrate online activity into their working life to a high degree (digital residents), and people who choose to use technology for selective, short-term activities and then log off (digital visitors).
  • digital technologies can enhance three core areas of academic practice: accessing, searching and sifting information; communicating with others; and building peer-to-peer networks.
anonymous

SocialTech: Computer Science is not Digital Literacy - 0 views

  • Not being able to code doesn't make you digitally illiterate. Not being able to participate in  social, economic, cultural and political life because you lack the confidence, skills and opportunity to do so is what makes you digitally illiterate.
  • Digital literacy means the the skills and confidence to take an active role in engaging in networks, and in shaping and creating opportunities - social, political, cultural, civic, and economic,
anonymous

Writing as Design, Design as Writing ( jnd.org ) - 0 views

  • I think you have to be a writer yourself to know how hard it is to make something easy to read -- or else you just have to be a little smart.
  • One of the things that stands out when talking to designers and long-term users of poorly designed systems is that these people take great pride in their skills. They had to go through great difficulties to master the system, and they are rightfully proud of having done so. That, by itself, is alright. The problem is that the difficulties become a test of the person or group. Then, rather than ease the situation for the next people, it is used as a sort of initiation rite. The hardy survivors of the experience claim to share a common bond and look with disdain upon those who have not been through the same rites. They share horror stories with one another.
  • To be successful, both writing and design have to follow basic psychological principles. And then they must be tested, tried out with readers or users who are similar to the intended audience, and then revised in whatever manner the test results indicate. All this takes a lot of effort and time. Time to learn the principles and appropriate techniques, time to practice them, time to test one's writing or design, time to revise, retest, and re-revise. Few are willing to expend that much time or effort.
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  • It sounds to me suspiciously like those folks who told me that if I made errors using the Unix computer system, why then I had no business using it. Clearly those who are incompetent to use something or to understand a text have no business trying to do so. Isn't this a great defense? You can cover up any kind of inelegant design or writing this way. Wonderful.
  • but the real test of the power of the idea ? and of the thinker ? is the ability to translate it into terms that the rest of us can understand
  • Consider the effect of age on intellectual ability. Young scientists find that human intellectual abilities decline with age, starting in the late twenties or thirties. However, older scientists doing the same kind of research show that intellectual ability does not decline with age, at least not after you exclude the effects of illness, "cohort" effects, and other technical complexities. Sure, physical and sensory abilities decline ? physical strength, vision, hearing, speed of response ? but certainly not intellectual ability. In fact, older scientists point out, knowledge, or what is called "crystal intelligence," is not only unimpaired, it improves with age.
  • The same points hold today, even though the technology of writing has advanced to the point where the hard work is the mental creation and refinement of one's thoughts into a form the reader can understand instead of the physical act of writing. It is easier for writers to let all their thoughts spill out on the page as they occur to them than to do the hard, time-consuming work to make those thoughts clear and easy for readers.
  • Conscientious authors find they must spend considerable time writing and rewriting.
  • The flaw in the argument, of course, is that why should anyone bother? How will they even know that something worthwhile is in there if it cannot be understood? Sure the work got published, and sure, my friend got promoted, but did anyone read the papers? Did his work have any impact? That is where readability matters.
  • The harder the author works, the easier for the reader. Hasty, inconsiderate authors create hours of effort for the reader. Careful, conscientious writers simplify the task for readers, but at the cost of great time and effort for themselves. Whose time is to be worth more: one writer or many readers?
  • t, opposing ideas are considered very important, because each scientific paper must carefully listen to the opposing voices and try to explain why they are either mistaken or why they perhaps do not apply in this particular case
  • It is through studies of the citation index that we know that interesting statistic: an amazingly large number of scientific papers never receive even a single citation.
  • these activities are presumably done for the benefit of others, so shouldn't the needs and abilities of those others be considered? A good writer and a good designer share many things in common. They need to understand the needs and abilities of their audience, and they must consider just how the product will be used.
  • Obviously the notion of trying out the material on the intended audience is not popular among designers and writers of instruction manuals,
  • Writers need editors and test readers to serve this role. Designers need the equivalent.
anonymous

Digital Discourse: Composing with Media in the Writing Classroom - 1 views

  • None of these students had created a video composition before. And yet, using archival footage from Rauner and on-campus interviews, these first-time filmmakers produced a moving short film about student activism and apathy. As you watch the film, note that the filmmakers’ choices (of image, interviews, music, and transitions) are very clearly rooted in an awareness of the effect that they hoped to have on their audience.
  •   One might argue—and argue correctly—that teaching students an awareness of audience does not require that we study or assign multimedia compositions. But students are deeply engaged with these media, often relying on them to make very important life decisions, like whom to vote for in the next presidential election and why. This engagement leads students to feel that multimedia compositions matter, and that these compositions have a power that other compositions don’t have—perhaps because they believe multimedia compositions have a broad and genuinely interested audience are therefore more likely to be seen.
  • Indeed, a group of students working on a short film reported to me that they had spent an hour heatedly arguing about a single transition in their film. These were students who often overlooked transitions in their written work.
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  • properly designed, can enhance students’ understanding of how to compose the traditional academic essay.
  • Because web readers have more freedom in their reading practices, writing for the web requires writers to think especially carefully about their readers: web writers must both anticipate readers’ choices and try to find ways to manage these choices. A good website is thus constructed so that the reader’s experience is self-determined but also managed, coherent across pages but not redundant. Finally, writing for the Web 2.0 invites web writers to think about opportunities for interaction: writers can poll readers, invite them to comment, and even engage in a sustained discourse with them.
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