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Barbara Lindsey

Bureau of Educational and Cultural Affairs Partnership with Carnegie Hall Connects Musi... - 0 views

  • As with the Turkey exchange, these students will communicate with their peers overseas and establish relationships to promote greater mutual understanding.
  • connect New York City music students with their peers in Istanbul, Turkey
  • During this school year, these youths have communicated with each other online and learned about their respective cultures and musical heritage. On December 16, the students were linked via digital video conference to attend, virtually, concerts by the Turkish clarinetist Selim Sesler in Istanbul and by the Maurice Brown jazz quintet in Carnegie Hall.
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  • The Carnegie Hall Cultural Exchange Program, presented by The Weill Music Institute at Carnegie Hall in partnership with the Bureau of Educational and Cultural Affairs of the U.S. Department of State, provides the opportunity for students throughout New York City to explore the music and culture of a chosen country. In 2008 – 2009, students have been learning about the music and culture of Turkey through sequential lessons and an exchange of ideas with their overseas peers via an online community.
Barbara Lindsey

Language Journeys: A Kid's Tour of Latin Music through Google Maps - 0 views

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    Fantastic application of google maps for world languages.
Barbara Lindsey

FriendFeed - 0 views

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    FriendFeed enables you to keep up-to-date on the web pages, photos, videos and music that your friends and family are sharing. It offers a unique way to discover and discuss information among friends.
Barbara Lindsey

Social Media is Killing the LMS Star - A Bootleg of Bryan Alexander's Lost Presentation... - 0 views

  • Unfortunately, this margin and that niche don’t map well onto each other, to the extent that education extends beyond single classes and connects with the world.
  • CMSes offer versions of most of these, but in a truncated way. Students can publish links to external objects, but can’t link back in. (In fact, a Blackboard class is a fine place to control access to content for one concerned about “deep linking”) An instructor can assign a reading group consisting of students in one’s class, but no one else. These virtual classes are like musical practice rooms, small chambers where one may try out the instrument in silent isolation. It is not connectivism but disconnectivism.
  • professors can readily built media criticism assignments into class spaces. These experiences are analogous to the pre-digital classroom, and can work well enough. But both refuse to engage with today’s realities, namely that media are deeply shaped by the social. Journaling privately, restricted to an audience not of the writer’s choosing, is unusual.
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  • We’ve seen an explosion in computer-mediated teaching and learning practices based on Web 2.0, in variety and scope too broad to summarize here. Think of the range from class blogs to Wikipedia writing exercises, profcasting to Twitter class announcements, mashups and academic library folksonomies and researchers’ social bookmarking subscriptions. CMSes react in the following ways: first, by simply not recapitulating these functions; second, by imitating them in delayed, limited fashions; third, by attempting them in a marginal way (example: Blackboard’s Scholar.com). CMSes are retrograde in a Web 2.0 teaching world.
  • CMSes shift from being merely retrograde to being actively regressive if we consider the broader, subtler changes in the digital teaching landscape. Web 2.0 has rapidly grown an enormous amount of content through what Yochai Benkler calls “peer-based commons production.” One effect of this has been to grow a large area for informal learning, which students (and staff) access without our benign interference.
  • Moreover, those curious about teaching with social media have easy access to a growing, accessible community of experienced staff by means of those very media. A meta-community of Web 2.0 academic practitioners is now too vast to catalogue. Academics in every discipline blog about their work. Wikis record their efforts and thoughts, as do podcasts. The reverse is true of the CMS, the very architecture of which forbids such peer-to-peer information sharing. For example, the Resource Center for Cyberculture Studies (RCCS) has for many years maintained a descriptive listing of courses about digital culture across the disciplines. During the 1990s that number grew with each semester. But after the explosive growth of CMSes that number dwindled. Not the number of classes taught, but the number of classes which could even be described. According to the RCCS’ founder, David Silver (University of San Francisco), this is due to the isolation of class content in CMS containers.
  • If we focus on the copyright issue, then the CMS makes for an apparently adequate shield. It also represents an uncritical acceptance of one school of copyright practice, as it enforces one form of fair use through software. However, it does not open up the question of copyright. Compare, for example, with the Creative Commons option increasingly available to content authors in platforms such as Flickr or WordPress. That experiential, teachable moment of selecting one’s copyright stance is eliminated by the CMS.
  • Another argument in favor of CMSes over Web 2.0 concerns the latter’s open nature.
  • Campuses should run CMSes to create shielded environments,
  • Yet does this argument seem familiar, somehow? It was made during the 1990s, once the first Web ballooned, and new forms of information anxiety appeared. Mentioning this historicity is not intended as a point of style, but to remind the audience that, since this is an old problem, we have been steadily evolving solutions. Indeed, ever since the 20th century we can point to practices – out in the open, wild Web! – which help users cope with informational chaos. These include social sifting, information literacy, using the wisdom of crowds, and others. Such strategies are widely discussed, easily accessed, and continually revised and honed. Most of these skills are not well suited to the walled garden environment, but can be discussed there, of course. Without undue risk of exposure.
  • Put another way, we can sum up the CMS alternative to Web 2.0’s established and evolving pedagogies as a sort of corporate model. This doesn’t refer to the fact that the leading CMS is a business product, produced by a fairly energetic marketplace player. No, the architecture of CMSes recapitulates several aspects of modern business. It enforces copyright compliance. It resembles an intranet, akin to those run by many enterprises. It protects users from external challenges, in true walled garden style. Indeed, at present, radio CMS is the Clear Channel of online learning.
  • The academic uses of realtime search follow the pre-Web pedagogy of seeking timely references to a classroom topic. Think of a professor bringing a newspaper to class, carrying a report about the very subject under discussion. How can this be utilized practically? Faculty members can pick a Web service (Google News, Facebook, Twitter) and search themselves, sharing results; or students can run such queries themselves.
  • Over the past near-decade CMSes have not only grown in scale, but feature development. Consider the variety: gradebooks, registrar system integration, e-Reserve integration, discussion tools, drop boxes, news alerts. Consider too the growth of parallel Web 2.0 tools: wikis, blogs, social bookmarking, podcasting.
  • Now to compare CMSes and Web 2.0: imagine an alternate history, a counterfactual, whereby the world outside academia had Blackboard instead of Web 2.0: § White House health care reform debates: each citizen must log into a town-hall-associated “class,” registering by zip code and social security number. Information is exchanged between “town classes” via email. Relevant documents can be found, often in .doc format, by logging into one’s town class.
  • § Iranian activists collaborate via classes, frantically switching logins and handles to keep government authorities from registering and snooping. § “Citizen media” barely exist. Instead we rely on established authorities (CNN, BBC, Xinua, etc) to sift, select, and, eventually, republish rare selections of user-generated media. § Wikipedia, Flickr and Picasa, the blogosphere, Facebook and MySpace, the world of podcasting simply don’t exist. Instead, we rely on static, non-communicable Web documents, and consult the occasional e-Reserve, sometimes on a purchased DVD. § The Recording Industry Association of America (RIAA) maintains fan clubs, small, temporary groups where fans of certain bands and artists can sign in and listen to time-limited, DRM’d music. “It’s like tape trading, but legal!” says one promotional campaign.
  • Once we had Bertold Brecht writing plays for radio, neighborhood-based radio shows, and the stupendous Orson Wells; then we moved on, through payola, and onto Kasey Kasem and Clear Channel.
  • For now, the CMS landsape is a multi-institutional dark Web, an invisible, unsearchable, un-mash-up-able archipelago of hidden learning content.
  • Can the practice of using a CMS prepare either teacher or student to think critically about this new shape for information literacy? Moreover, can we use the traditional CMS to share thoughts and practices about this topic?
  • Now your iPhone can track your position on that custom map image as easily as it can on Google maps.”
  • What world is better placed to connect academia productively with such projects, the open social Web or the CMS?
  • CMS. What is it best used for? We have said little about its integration with campus information systems, but these are critical for class (not learning) management, from attendance to grading. Web 2.0 has yet to replace this function. So imagine the CMS function of every class much like class email, a necessary feature, but not by any means the broadest technological element. Similarly the e-reserves function is of immense practical value. There may be no better way to share copyrighted academic materials with a class, at this point. These logistical functions could well play on.
  • It makes for a separation from the social media world, a paused space, perhaps one fertile for reflection. If that works for some situations, then it works, and should be selected… consciously, not as a default or unreflective option, but as the result of a pedagogical decision process.
Barbara Lindsey

BOXEE: the open, connected, social media center for windows, mac os x and linux - 0 views

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    Boxee lets you access your videos, photos, music, shows and streaming content. It pulls info related to your content from the web (like reviews) and allows you to participate with friends.
Barbara Lindsey

Philosophy | Intrepid Teacher - 0 views

  • The 21st century classroom must be a place to network, to create, to publish, to share.
  • The new classroom does not integrate technology into an outdated curriculum, but rather infuses technology into the daily performance of classroom life.
  • In this new classroom, the teacher is not the sole expert or the only source of information, but rather the teacher is the lead member of a network—guiding and facilitating as students search for answers to questions they have carefully generated.
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  • It is important to note that some students may be quietly sitting in the corner engrossed in an old fashioned text.
  • Daily and total access to computers allows students to realize that technology is not something they “do” when they go to the lab or when the teacher has checked out the laptop cart, but rather technology is something they can use everyday in class to help themselves learn.
  • In this new classroom, students will begin to understand that their computer is not simply a novelty to take notes with, but it is their binder, their planner, their dictionary, their journal, their photo album, their music archive, their address book.
  • tudents will begin to understand that their computer is not simply a novel
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    The 21st century classroom must be a place to network, to create, to publish, to share.
Barbara Lindsey

Teachers And YouTube: Connecticut May Study Impact Of Video-Recording Devices In Classr... - 0 views

  • There is Smoker, 44, in his Guilford High School classroom more than a year ago, flailing his arms, short-hopping across the classroom, then pushing against a wall. He is explaining how molecules move, but the only sound in this YouTube video is instrumental music.
  • Experiences such as Smoker's are behind a bill that the state's largest teachers' union is lobbying for at the state Capitol. The legislation, under consideration by the General Assembly's education committee, would create a task force to study the impact of cellphone cameras and video-recording devices in the classroom.
  • State law already allows local school boards to ban or restrict cellphones at school — and many of them do —
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  • Connecticut Education Association argues that the pervasiveness of small mobile phones that can record videos easily uploaded to the Internet is reason to update the law to specifically limit their use.
  • "What we're trying to do is address the problem head-on," Mark Waxenberg, the CEA's government relations director, said this week.
  • A Norwalk High School math teacher was suspended with pay in 2006 after a cellphone video posted on the Internet showed him calling a student a homophobic slur.
  • courts in the country have generally limited teachers' privacy rights in the classroom
  • No teachers spoke when the bill was aired at a public hearing Monday. And the lone piece of written testimony comes from Ray Rossomando, a CEA employee, who said that "surreptitious video-recordings of teachers has been an increasing concern" and cited the example of a Naugatuck Valley teacher who was recorded while instructing class this year. The clip was posted on YouTube.
  • People have to take the course to see the dance, he tells them.
  • So the clip is "a little upsetting," Smoker said, "because I do teach mostly seniors, and they know what the policy is. To do a sneaky video like this was out of line."
  • Still, Smoker was worried that the video would be taken out of context, and he called it a "rude awakening." He contacted the student, who has since graduated, to ask that it be taken down.
Barbara Lindsey

Forget E-Books: The Future of the Book Is Far More Interesting | The Penenberg Post | F... - 1 views

  • But technology marches on through predictable patterns of development, with the initial form of a new technology mirroring what came before, until innovation and consumer demand drive it far beyond initial incremental improvements. We are on the verge of re-imagining the book and transforming it something far beyond mere words.
  • Like early filmmakers, some of us will seek new ways to express ourselves through multimedia. Instead of stagnant words on a page we will layer video throughout the text, add photos, hyperlink material, engage social networks of readers who will add their own videos, photos, and wikified information so that these multimedia books become living, breathing, works of art. They will exist on the Web and be ported over to any and all mobil devices that can handle multimedia, laptops, netbooks, and beyond.
  • where there's chaos, there's opportunity
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  • For the non-fiction author therein lie possibilities to create the proverbial last word on a subject, a one-stop shop for all the information surrounding a particular subject matter. Imagine a biography of Wiley Post, the one-eyed pilot from the 1930s who was the first to fly around the world. It would not only offer the entire text of a book but newsreel footage from his era, coverage of his most famous flights, radio interviews, schematics of his plane, interactive maps of his journeys, interviews with aviation historians and pilots of today, a virtual tour of his cockpit and description of every gauge and dial, short profiles of other flyers of his time, photos, hyperlinked endnotes and index, links to other resources on the subject. Social media could be woven into the fabric of the experience--discussion threads and wikis where readers share information, photos, video, and add their own content to Post's story, which would tie them more closely to the book. There's also the potential for additional revenue streams: You could buy MP3s of popular songs from the 1930s, clothes that were the hot thing back then, model airplanes, other printed books, DVDs, journals, and memorabilia. A visionary author could push the boundaries and re-imagine these books in wholly new ways. A novelist could create whole new realities, a pastiche of video and audio and words and images that could rain down on the user, offering metaphors for artistic expressions. Or they could warp into videogame-like worlds where readers become characters and through the expression of their own free will alter the story to fit. They could come with music soundtracks or be directed or produced by renowned documentarians. They could be collaborations or one-woman projects.
  • Serious literature, and even perhaps much fiction will however, will be published in old book form…or maybe in the current “text on screen” form. The point of reading fiction IS to imagine your own characters and use your imagination…that’s why you read rather then watch a video about it!
  • Traditional books (especially literature) will be relegated to smaller, specialty houses and self-publishing, in its infancy, will boom!
  • The question is, how will the media companies (not just book publishers) respond? We're already seeing the effect on newspapers, as their ad revenue (and business model) collapses. Perhaps history can offer another analogy: When home refrigeration became affordable, it posed an existential threat to the large ice-delivery companies. Some of these firms manufactured ice by the ton in order to warehouse and deliver it at retail. They saw the threat, but not the opportunity - didn't realize the value of their core technology, the ice-making equipment itself. They saw only the falloff in their retail delivery logistics model. Had they licensed their chillers, they could have made a fortune. Likewise, buggy-whip-makers could have retooled as purveyors of leather goods for automobiles.
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    But technology marches on through predictable patterns of development, with the initial form of a new technology mirroring what came before, until innovation and consumer demand drive it far beyond initial incremental improvements. We are on the verge of re-imagining the book and transforming it something far beyond mere words.
Barbara Lindsey

Ending the semester, Lessons Learned (Part 4: Assessment) | Language Lab Unleashed! - 0 views

  • I see teaching as constantly re-tooling, tweaking, re-evaluating, scrapping, starting over.
  • One of my goals for this class (and for me) was to see what student-centered assessment would look like in a conversation class. I took a big leap and gave the reigns over to them. The content of the class and flow of the class was based on their interested and idea. They were there because they had personal goals that needed to be acknowledged and realized… or at least approximated.
  • What would happen if I felt they didn’t merit the grade they said they did? what if they all wanted an A+?
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  • This is what I asked each student to do: 1) create a series of three goals or metas, one progressively more complex than the other, and each building upon the other, that were to be accomplished his term. The first goal was to be done by the end of March, the second by the end of April, the third maybe by the end of the term…but probably not. 2) create a series of tasks that s/he felt would lead to realizing those goals. 3) blog about about his or her progress at least 2 times per week 4) At the end of the term: write up a final self assessment (in English or in Spanish), reflecting upon the progress completed, including the work done in class that would contribute to these goals, and assign a grade for the term. The students needed to evidence of their progress as a way of justifying their chosen grade. CAVEAT: If the grade s/he chose was lower than one than I would have selected, they would get my grade and an explanation. If the grade was higher, we would continue the conversation and try to see what it was that I was missing. I was willing to be (and wanted to be!) swayed, given that this was the student’s assessment of his/her personal learning goals in Spanish.
  • Some (but very few indeed) met ALL of their goals. Almost all acknowledged that they had set up unrealistic expectations for themselves (in terms of how much they could get done in a semester) and many used their self assessment as a way to set up future goals for their language growth. (Exactly the kinda thing you hope to see happen…learning extending beyond the limits imposed by the classroom).
  • A shy, timid young man, he did not mention in his evaluation the class discussion he led, and managed, and blogged about at the end of the term… nor did he see how any of this was helping him move towards his most lofty goal…to be able to travel with friends in Spain and to be able to communicate with ease and without anxiety.
  • It pains me to read this, but not because of the critiques she makes about me, the tools, or the class. It pains me because Edie passed on an opportunity to try something new, experiment, take a calculated risk…all things she will eventually have to do when she travels in another culture. It’s sad because she was the only student who did not “let go” of something during the semester and instead just held on tight to how she wanted this class to be, vs how it really, truly was. Unstructured to her meant undirected. Allowing the group to decide the flow of the class frustrated her, because the cadence of the class was not one that was controlled by the teacher and therefore predictable
  • In the end, she presented me with a chart that logged over 40 hours of Skype conversations with a native speaker she eventually found, and 110 pages (!) of chat transcripts with others with whom she tried to make regular contact. In class, as a result of her out of class experiences, she became more involved and engaged, eventually leading a class discussion about her interests in music, but doing so such that it wove itself in with the topic the class was discussing that week.
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