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Katie Day

'There is a light at the end of the tunnel': Why novelist Alan Garner's reality is ting... - 0 views

www.independent.co.uk/...ed-with-mysticism-2086657.html

childrens_lit authors alan_garner interview

shared by Katie Day on 02 Oct 10 - No Cached
  • Katie Day on 02 Oct 10
     
    "Fifty years on from his first novel and it's still unclear whether Alan Garner is in touch with an alternative reality or just the 'dream-maker' he claims. Here, he explains how he died three times and why spending two years in the foetal position is not the best career move"
Jeffrey Plaman

Aurasma - 2 views

www.aurasma.com

technology virtual reality app visual browser

shared by Jeffrey Plaman on 05 Dec 12 - No Cached
  • Jeffrey Plaman on 05 Dec 12
     
    The World's First Visual Browser, bringing the physical and virtual worlds together. Aurasma is a free augmented reality platform that lets you discover, create and share amazing virtual content, integrated into the real world.
Sean McHugh

Girls and Games: What's the Attraction? | MindShift - 0 views

blogs.kqed.org/...and-games-whats-the-attraction

games learning girls gaming

shared by Sean McHugh on 04 Mar 13 - No Cached
  • Sean McHugh on 04 Mar 13
     
    Girls and Games: What's the Attraction? Games are increasingly recognized by educators as a way to get kids excited about learning. While the stereotype of a "gamer" may evoke the image of a high school boy holed up in a dark room playing on a console, in reality 62 percent of gamers play with other people either in person or online, and 47 percent of all gamers are girls. Game developers and academics who have been studying the elements that go into making games more attractive to girls found that those very same qualities are also important components of learning. For instance, girls are more drawn to games that require problem solving in context, that are collaborative (played through social media) and that produce what's perceived to be a social good. They also like games that simulate the real word and are particularly drawn to "transmedia" content that draws on characters from books, movies, or toys.
Keri-Lee Beasley

How Should Reading Be Taught in a Digital Era? - Education Week - 1 views

www.edweek.org/...-be-taught-in-digital-era.html

literacy technology education digital_literacy digital_reading visual_literacy media_literacy

shared by Keri-Lee Beasley on 30 Nov 16 - No Cached
  • Keri-Lee Beasley on 30 Nov 16
     
    "With the many enhancements to mobile devices, multimedia websites, e-books, interactive graphics, and social media, there's no question that the nature of reading has changed during the past decade. But has the way reading is taught in elementary schools changed as well? And what should teachers be doing to get students ready for the realities of modern reading?"
Louise Phinney

We, the Web Kids - Pastebin.com - 0 views

pastebin.com/0xXV8k7k

shared by Louise Phinney on 23 Feb 12 - No Cached
  • Louise Phinney on 23 Feb 12
     
    There is probably no other word that would be as overused in the media discourse as 'generation'. I once tried to count the 'generations' that have been proclaimed in the past ten years, since the well-known article about the so-called 'Generation Nothing'; I believe there were as many as twelve. They all had one thing in common: they only existed on paper. Reality never provided us with a single tangible, meaningful, unforgettable impulse, the common experience of which would forever distinguish us from the previous generations. We had been looking for it, but instead the groundbreaking change came unnoticed, along with cable TV, mobile phones, and, most of all, Internet access. It is only today that we can fully comprehend how much has changed during the past fifteen years.
Katie Day

Educational Leadership:Teaching Screenagers:Publishers, Participants All - 0 views

www.ascd.org/...lishers,-Participants-All.aspx

branding publishing resumes writing online education

shared by Katie Day on 25 Feb 11 - No Cached
  • Katie Day on 25 Feb 11
     
    "This is a world in which public is the new default. Thought leader Michael Schrage (2010) notes that "the traditional two-page résumé has been turned into a 'personal productivity portal' that empowers prospective employers to quite literally interact with their candidate's work." The rules for building your personal brand are changing at light speed. It's not enough to suggest that we have those admirable skills of creativity, initiative, and entrepreneurship; now we have to show them in action online. In short, our résumé is becoming a Google search result, one that we build with the help of others and that requires our participation. Most students are beginning to face this reality without much assistance from the schools charged with preparing them for the world beyond school. That has to change. We need to help students understand more than just the safety and ethics of participating online; we also have to give them opportunities throughout the curriculum to find and follow their passions and publish meaningful, quality work for real global audiences to interact with." Article by Will RIchardson
Keri-Lee Beasley

Click the black background and switch on their reality - politiken.dk - 0 views

politiken.dk/...nd-and-switch-on-their-reality

refugee migration images visual_literacy

shared by Keri-Lee Beasley on 07 Mar 17 - No Cached
  • Keri-Lee Beasley on 07 Mar 17
     
    Images of Refugees with backgrounds removed.
David Caleb

Reading photographs - 1 views

www.learnnc.org/677

photographs visual literacy literacy photography

shared by David Caleb on 03 Nov 16 - Cached
  • Photographs have tremendous power to communicate information. But they also have tremendous power to communicate misinformation, especially if we’re not careful how we read them. Reading photographs presents a unique set of challenges. Students can learn to use questions to decode, evaluate, and respond to photographic images.
  • What happened just before this moment, or just after it?
  • The photograph of a crowd of jubilant Iraqis toppling the statue of Saddam Hussein in Baghdad on April 9, 2003, is one of the most common images of the recent war in Iraq. A closeup shot shows a crowd of primarily Iraqis toppling the statue. A wide shot of the same scene would have revealed that the crowd in the square was made up of primarily US forces and journalists.
  • ...20 more annotations...
  • One type of photography in which setting is very important is travel photography.
  • Using landmarks, monuments, or famous natural elements in a photograph is a core technique for evoking a sense of place.
  • The photographer selects the focal point not only by focusing the camera but also through other techniques.
  • shutter speed to bring only one element into focus immediately elevates that to the most important part of the image.
  • one element in the photograph is strongly backlit, it may seem to glow and thus draw the viewer’s attention.
  • What is the photographer’s thought process as she composes, frames, shoots and selects an image? Listen as photographer Lisa Maizlish narrates the decisions she made in photographing the students featured on the PBS reality show American High.
  • viewers have to decide how to interpret a photograph’s context
  • information about the people, events, setting, and so on are made explicit by the photographer — there are distinct visual clues that tell us who the people are, what they are doing, and where and when the photograph was taken.
  • implicit — implied but not clearly communicated by the photographer, or left to be inferred by the viewer.
  • identities of the people
  • unclear
  • their purpose may be unknown
  • time and place may be difficult or impossible to discern.
  • simple "W" questions can be open to debate.
  • Viewers may not even realize that they are making those assumptions
  • Just as successful written communication requires that the writer and reader speak the same language, successful visual communication requires that the photographer and viewer share a common "visual language" of signs, clues, and assumptions.
  • Were your assumptions correct? Can you always trust your first instinct? (And even having read the caption, how much do we really know about these girls and their lives?)
  • a different culture might ask why this round brown object is
  • we have to be careful that we have enough cultural background in common with the photographer to correctly interpret what we see.
  • The photograph by itself tells us very little about what’s going on; we probably could have invented any number of captions, and you’d have believed us!
  • Keri-Lee Beasley on 03 Nov 16
     
    Reading images - lots of good strategies here
  • David Caleb on 07 Nov 16
     
    Reading photos
Jeffrey Plaman

App Store - ARIS - 0 views

itunes.apple.com/...id371788434

app reality ar art ios

shared by Jeffrey Plaman on 27 May 12 - No Cached
  • Jeffrey Plaman on 27 May 12
     
    Tool for making location based games, stories and art
Louise Phinney

Will the Real Digital Native Please Stand UP - 0 views

campustechnology.com/...al-Native-Please-Stand-Up.aspx

technology

shared by Louise Phinney on 06 Nov 11 - No Cached
  • Louise Phinney on 06 Nov 11
     
    The problem with Prensky's assumption is that it's based on age--on the idea that, because you were born in a certain era, you must be a certain way. Of course, we know that's not true. Even among your 20-somethings, there are students who are very tech-savvy and those who are not. The term is a generalization, and the reality is much more nuanced."
Katie Day

Education Week Teacher Professional Development Sourcebook: Change Agent - 0 views

www.edweek.org/...01richardson.h04.html

teaching 21stcenturylearning

shared by Katie Day on 17 Oct 10 - No Cached
  • You’ve written that too many teachers are “un-Googleable.” What do you mean by that and why does it matter? What I mean is that too few teachers have a visible presence on the Web. The primary reason this matters is that the kids in our classrooms are going to be Googled—they're going to be searched for on the Web—over and over again. That's just the reality of their lives, right? So they need models. They need to have adults who know what it means to have a strong and appropriate search portfolio—I call it the “G-portfolio.” But right now—and this is my ongoing refrain—there’s no one teaching them how to learn and share with these technologies. There's no one teaching them about the nuances involved in creating a positive online footprint. It's all about what not to do instead of what they should be doing. The second thing is that, if you want to be part of an extended learning network or community, you have to be findable. And you have to participate in some way. The people I learn from on a day-to-day basis are Googleable. They’re findable, they have a presence, they’re participating, they’re transparent. That’s what makes them a part of my learning network. If you’re not out there—if you’re not transparent or findable in that way—I can’t learn with you.
  • Why do you think many teachers are not out there on the Web? I think it’s a huge culture shift. Education by and large has been a very closed type of profession. “Just let me close my doors and teach”—you hear that refrain all the time. I’ve had people come up to me after presentations and say, “Well, I’m not putting my stuff up on the Web because I don’t want anyone to take it and use it.” And I say, “But that’s the whole point.” I love what David Wiley, an instructional technology professor at Brigham Young University, says: “Without sharing, there is no education.” And it’s true.
  • What could a school administrator do to help teachers make that shift? Say you were a principal? What would you do? Well, first of all, I would be absolutely the best model that I could be. I would definitely share my own thoughts, my own experiences, and my own reflections on how the environment of learning is changing. I would be very transparent in my online learning activity and try to show people in the school that it’s OK, that it has value. I think it’s very hard to be a leader around these types of changes without modeling them.
  • ...6 more annotations...
  • Secondly, I would try to build a school culture where sharing is just a normal part of what we do and where we understand the relevance of this global exchange of ideas and information to what we do in the classroom.
  • There’s a great book called Rethinking Education in an Era of Technology by Allan Collins and Richard Halverson. For me, these guys absolutely peg it. They talk about how we went from a kind of apprenticeship model of education in the early 19th century to a more industrialized, everybody-does-the-same-thing model in the 20th century. And now we’re moving into what they call a “lifelong learning” model—which is to say that learning is much more fluid and much more independent, self-directed, and informal. That concept—that we can learn in profound new ways outside the classroom setting—poses huge challenges to traditional structures of schools, because that’s not what they were built for.
  • What we have to do is build a professional culture that says, “Look, you guys are learners, and we’re going to help you learn. We’re going to help you figure out your own learning path and practice.” It’s like the old “give a man a fish” saying. You know, we’re giving away a lot of fish right now, but we’re not teaching anybody how to fish.
  • If you were a principal, in order to foster network literacy as you envision it, what kind of professional development would you provide to teachers? I think that teachers need to have a very fundamental understanding of what these digital interactions look like, and the only way that you can do that is to pretty much immerse them in these types of learning environments over the long term. You can’t workshop it. That’s really been the basis of our work with Powerful Learning Practice: Traditional PD just isn’t going to work. It’s got to be long-term, job-embedded. So, if I’m a principal, I would definitely be thinking about how I could get my teachers into online learning communities, into these online networks. And again, from a leadership standpoint, I’d better be there first—or, if not first, at least be able to model it and talk about it.
  • But the other thing is, if you want to have workshops, well, that’s fine, go ahead and schedule a blogging workshop, but then the prerequisite for the workshop should be to learn how to blog. Then, when you come to the workshop, we’ll talk about what blogging means rather than just how to do it.
  • If you were starting a school right now that you hoped embodied these qualities, what traits would you look for in teachers? Well, certainly I would make sure they were Googleable. I would want to see that they have a presence online, that they are participating in these spaces, and, obviously, that they are doing so appropriately. Also, I’d want to know that they have some understanding of how technology is changing teaching and learning and the possibilities that are out there. I would also look for people who aren’t asking how, but instead are asking why. I don’t want people who say, “How do you blog?” I want people who are ready to explore the question of, “Why do you blog?” That’s what we need. We need people who are willing to really think critically about what they’re doing.
Katie Day

In Pursuit of the Perfect Brainstorm - NYTimes.com - 0 views

www.nytimes.com/...19Industry-t.html

cognitive_science creativity ideas thinking

shared by Katie Day on 20 Dec 10 - No Cached
  • Jump’s work has elements of management consulting and a bit of design-firm draftsmanship, but its specialty is conceiving new businesses, and what it sells is really the art of innovation. The company is built on the premise that creative thinking is a kind of expertise. Like P.&G. and Mars, you can hire Jump to think on your behalf, for somewhere between $200,000 to $500,000 a month, depending on the complexity and ambiguity of the question you need answered. Or you can ask Jump to teach your corporation how to generate better ideas on its own; Jump imparts that expertise in one- and five-day how-to-brainstorm training sessions that can cost $200,000 for a one-day session for 25 employees.
  • What’s clear is that in recent years, much of corporate America has gone meta — it has started thinking about thinking. And all that thinking has led many executives to the same conclusion: We need help thinking. A few idea entrepreneurs, like Jump, Ideo and Kotter International, are companies with offices and payrolls. But many are solo practitioners, brains for hire who lecture at corporations or consult with them regularly. Each has a catechism and a theory about why good ideas can be so hard to come by and what can be done to remedy the situation.
  • “We’re not only blind to certain things, but we’re blind to the fact that we’re blind to them.”
  • ...7 more annotations...
  • You often hear this from idea entrepreneurs: Don’t ask us for the answers. Let us help you frame the questions, so you can answer them yourself.
  • At Jump, they prefer to brainstorm with a variation of a technique pioneered in improv theater. A comic offers the first sentence of a story, which lurches into a (hopefully funny) tale, when someone else says, “Yes, and?” then adds another sentence, which leads to another “Yes, and?”— and back and forth it goes. In the context of brainstorming, what was once a contest is transformed into a group exercise in storytelling. It has turned into a collaboration.
  • Why now? Why did innovation-mania take hold in the last decade or so? One school of thought holds that corporations both rise and die faster than ever today, placing a premium on the speedy generation of ideas.
  • Other ideas entrepreneurs offer a “great man” theory, pointing to the enormous influence of Clayton M. Christensen, a Harvard Business School professor and an author of books including “The Innovator’s Dilemma”and “Innovation and the General Manager.”
  • Dev Patnaik of Jump has his own answer to the why-now question. He contends that advances in technology over the past three decades have gradually forced management to reconceive its role in the corporation, shifting its focus from processing data to something more esoteric.
  • “Suddenly it’s about something else. Suddenly it’s about leadership, creativity, vision. Those are the differentiating things, right?” Patnaik draws an analogy to painting, which for centuries was all about rendering reality as accurately as possible, until a new technology — photography — showed up, throwing all those brush-wielding artists into crisis.
  • Most idea entrepreneurs offer what could be described as Osborn deluxe. Govindarajan, the Dartmouth professor, presents companies with what he calls the three-box framework. In Box 1, he puts everything a company now does to manage and improve performance. Box 2 is labeled “selectively forgetting the past,” his way of urging clients to avoid fighting competitors and following trends that are no longer relevant. Box 3 is strategic thinking about the future. “Companies spend all of their time in Box 1, and think they are doing strategy,” he says. “But strategy is really about Box 2 and 3 — the challenge to create the future that will exist in 2020.” He recommends to clients what he calls the 30-30 rule: 30 percent of the people who make strategic decisions should be 30 years old or younger.
  • Katie Day on 20 Dec 10
     
    long article on creativity, innovation, and people who are dedicated to the process of coming up with ideas....
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