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A training webinar from the DIAGRAM Center, this presentation focuses on creating accessible math images, giving participants an understanding of the end-to-end process of converting conventional math display into digital formats that can be accessed by students with print disabilities. Special attention will be given to the tools being created by the OSEP-funded DIAGRAM Center to facilitate image description

"May 25, 2010, 02:00 PM ET Integrating Digital Audio Composition into Humanities Courses By Prof. Hacker Edison Phonograph[This guest post is by Jentery Sayers, who is a PhD candidate in English at the University of Washington, Seattle. In 2010-2011, he will be teaching media and communication studies courses in Interdisciplinary Arts and Sciences at the University of Washington, Bothell. He is also actively involved with HASTAC. You can follow Jentery on Twitter: @jenterysayers.] Back in October 2009, Billie Hara published a wonderfully detailed ProfHacker post titled, "Responding to Student Writing (audio style)". There, she provides a few reasons why instructors might compose digital audio in response to student writing. For instance, students are often keen on audio feedback, which seems more personal than handwritten notes or typed text. As an instructor of English and media studies, I have reached similar conclusions. Broadening the sensory modalities and types of media involved in feedback not only diversifies how learning happens; it also requires all participants to develop some basic-and handy-technical competencies (e.g., recording, storing, and accessing MP3s) all too rare in the humanities. In this post, I want to continue ProfHacker's inquiry into audio by unpacking two questions: How might students-and not just instructors-compose digital audio in their humanities courses? And what might they learn in so doing? Designing Courses with Audio Composition in Mind One of the easiest ways to integrate digital audio composition into a humanities course is to identify the kinds of compositions that might be possible and then find some examples. Below, I consider five kinds of digital audio compositions: * recorded talks * audio essays * playlists * mashups * interviews Each entails its own learning outcomes, technologies, and technical competencies. The recorded talk consists of students reading their own academic essays a

Resources - Accessibility at Google

Report on the accessibility of Google Docs prepared in Spring 2011 for the CSU Chancellor's Office ATI team.

TIP is a tool intended to make learning and instructional theory more accessible to educators. The database contains brief summaries of 50 major theories of learning and instruction. These theories can also be accessed by learning domains and concepts.

Resources for Teaching and Learning the Accessibility of Technology

In the era of online learning, colleges and universities are quickly learning that it's not enough to provide online content-the content must be accessible for all. But how can institutions provide online accessibility; and is it a legal requirement?

The Described and Captioned Media Program is a free-loan library of accessible educational media for use by teachers and family member of K-12 students with a vision or hearing loss. This U.S. Department of Education-funded program also serves as a clearinghouse of accessibility information and training resources as well as a gateway to accessibility information from partnering organizations.

"Math"

"Microlectures (snippets) are simple multimedia presentations that are 90 seconds to five minutes long. They focus on a specific concept or skill associated with the course's learning objectives. Microlectures allow students to access instruction on a specific concept or skill they need to practice."

Respondents indicated that a well-managed center for teaching and learning plays a significant role in informal faculty leadership. The center should be centrally located to provide easy access for faculty from across campus.