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Jenny Gilbert

Reading between the lines - 0 views

  • 'In other words,'' says Dr Sue Thomson, of the Australian Council for Educational Research, ''larger proportions of students can be described as 'strong performers' in the digital medium than in the print medium.''
  • If anything, what the new technologies will do is provide more opportunities to engage with long-form texts. The distribution mechanism will allow greater access. If you wanted to read almost anything on anything, I can almost guarantee there'll be 5000 words that someone's written about it somewhere, that you can get your hands on in an instant.'
  • ''Everybody's either on a Kindle, emailing, texting, reading the news on their iPads. The digital revolution is not destroying reading. It's changing the shape, the form, the context and maybe how we do it, but I don't think it's diminishing it.''
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  • But does access to more material make us more ''literate''? ''I actually think the evidence shows that most of our children are more literate, if you think of the definition 'literacy' as hugely more complex than it was 30 or 40 years ago and the different sorts of literacies that everyone has to have,'' says Ewing
  • ''At one point of time, if you could sign your name you were 'literate' - and then it was actually a very good measure. Later, if you could do a, say, primary school level of schooling, that was considered to be literacy. Today, I'd say, it's being able to interact with and participate in contemporary society, and in most workplaces these days that takes in having some element of computer literacy.''
  • BUT many worry that screen-based reading is already changing the way we read for the worse, playing to what has been called the Google generation, people with short attention spans who are prone to distraction and turn into ''skimmers''
  • ''Wide reading, particularly wide reading out of school, has a direct correlation with academic success.''
  • nd amid all the gloom and doomsaying, it seems we're still doing plenty of that.
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    Are kids not reading - or is it that the nature of reading has changed - great article
Jenny Gilbert

The Innovative Educator: 21st Century Educators Don't Say, "Hand It In." They say, "Pub... - 0 views

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    I am inclined to agree with the ideas here - putting them into practice is the difficult part. I am some of the way there though.
Jenny Gilbert

What the Research Says (or Doesn't Say): About Sustained Silent Reading - 0 views

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    article on the use of sustained silent reading in the classroom
Jenny Gilbert

Bardfilm: The Shakespeare and Film Microblog: The Ten Best Uses of Shakespeare Sonnets ... - 0 views

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    wow! nothing more to say
Jenny Gilbert

1,600 Sayings, phrases and expressions - with their meanings and origins explained. - 0 views

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    This may be useful as a resource for when we are teaching National curriculum - covering the origins and evolution of the English language
Jenny Gilbert

Web 2.0 Storytelling: Emergence of a New Genre (EDUCAUSE Review) | EDUCAUSE - 0 views

  • To claim that there is now such a thing as “Web 2.0 storytelling” invites risks. For one, some media reports suggest that this type of storytelling could be either hype or a danger. In addition, trying to pin down such a moving target can result in creating terminology that becomes obsolete in short order. Moreover, claiming that storytelling is happening online and is developing in interesting ways contradicts some current assertions about a decline in reading.Accepting these risks, we suggest there is most certainly a new form of expression that is compelling to educators. Starting from our definitions, we should expect Web 2.0 storytelling to consist of Web 2.0 practices.
  • Lonelygirl15 (http://www.lonelygirl15.com/), which started as a series of short videos on YouTube, grew to include a large number of comments, blog posts, wiki pages, parody videos, response videos, and a body of criticism. In each of these cases, the relative ease of creating web content enabled social connections around and to story materials.
  • Web 2.0 narratives can follow that timeline, and podcasts in particular must do so. But they can also link in multiple directions. Consider the possibilities facing a reader (or a viewer or a listener) who approaches Postmodern Sass. One timeline follows blog posts in chronological order. Another follows comments to a single post. A third follows links between posts, such as when the author refers to an earlier situation or references an old joke. Web 2.0 creators have many options about the paths to set before their users. Web 2.0 storytelling can be fully hypertextual in its multilinearity.
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  • laying for Keeps (http://www.playingforkeepsnovel.com/) includes blog posts (with comments), podcasts (each blogged, with those posts commentable), PDF downloads, a MySpace page, and additional blog posts from various content contributors, with these posts housed at their own locations.
  • his sort of content repurposing, redesign, and republication can open up problems of version or content control, yet in return, it offers the possible harvesting of the storytelling energies of the creative world.
  • The Twitter content form (140-character microstories) permits stories to be told in serialized portions spread over time.
  • Even more varied forms include movie trailer recuts, in which the story creator edits clips from a well-known Hollywood movie to make a preview that tells a different story.
  • Web 2.0 storytelling is a rapidly evolving genre, developing as new platforms emerge and moving in pace with the creativity of the human mind. We anticipate that new storytelling forms will emerge from today’s tools for microblogging, social networking, web-based presentations, and microblog-like videos
  • For rich-media content creation, Web 2.0 tools have lowered the barriers by moving the process of (expensive) desktop video-editing software to (free) web-based applications17 and at the same time ostensibly moving the focus from using the tool to telling the story with the tool.
  • o be included, the tools had to be free, completely web-based, and able to produce a final product that could be viewed via a link and/or could be embedded into another site. Currently, The Fifty Tools website (http://cogdogroo.wikispaces.com/StoryTools) features examples of stories created in fifty-seven tools, and the number is likely, as new tools continue to emerge, to top seventy soon.
  • Should Web 2.0 storytelling be considered for educational purposes as well? After all, not every art form needs to be used in academia. We believe that the answer is “yes” and that Web 2.0 storytelling offers two main applications for colleges and universities: as composition platform and as curricular object.
  • Some projects can be Web 2.0 stories, while others integrate Web 2.0 storytelling practices.
  • A single course blog, for instance, tells the class “story.”
  • At a different—perhaps meta—level, the boundaries of Web 2.0 stories are not necessarily clear. A story's boundaries are clear when it is self-contained, say in a DVD or XBox360 game. But can we know for sure that all the followers of a story's Twitter feed, for example, are people who are not involved directly in the project? Turning this question around, how do we know that we've taken the right measure of just how far a story goes, when we could be missing one character's blog or a setting description carefully maintained by the author on Wikipedia?
  • For now, perhaps the best approach for educators is simply to give Web 2.0 storytelling a try and see what happens. We invite you to jump down the rabbit hole
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    excellent and detailed doc exploring and defining web2.0 storytelling and what that actually means
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