Thursday, March 2nd, 2017 at 3:00 pm ET
Join the Blended Librarians Online Learning Community for the second webcast in a series of conversations with Blended Librarians. This session explores the role of Blended Librarians by discussing with our panel how they developed their skills, how they obtained their positions, what their work is like, what their challenges are and what they enjoy about being a Blended Librarian. This panel conversation takes place on Thursday, March 2, 2017 at 3 p.m. EST with our guests J. Lindsay O’Neill, Francesca Marineo, Kristin (Miller) Woodward, Julie Hartwell, and Amanda Clossen.
Panelists
- Lindsay O’Neill is the Instructional Design Librarian at California State University, Fullerton’s Pollak Library, where she designs and develops tutorials related to information literacy and library research using Articulate Storyline, Adobe Captivate, and Camtasia. She is also a faculty member in CSUF’s Master of Science in Instructional Design and Technology program. Lindsay regularly consults on effective pedagogy, instructional design, educational technology, open licensing, and accessibility. Lindsay holds a Master in Education, specializing in Educational Technology/Instructional Design, as well as a Master of Library and Information Science.
- Francesca Marineo is an instructional design librarian at Nevada State College. She received her MLIS from the University of California, Los Angeles, where she discovered her profound passion for information literacy instruction. Currently pursuing a Master in Educational Psychology, she focuses on improving teaching and learning in higher education through innovative pedagogy and data-driven design.
- Kristin Woodward is Online Programs and Instructional Design Coordinator at UWM Libraries. In this role Kristin consults with faculty and teaching staff to build information competencies and library resources into the framework of online, hybrid and competency based courses. Kristin also serves as the campus lead for the student-funded Open Textbook and OER Project as well as the library team lead for Scholarly Communication.
- Julie Hartwell is an Instructional Design Librarian at the University of Missouri-Kansas City’s Miller Nichols Library. She serves as liaison to the Sociology, Criminal Justice, and Instructional Design departments. She contributes to the creation of library learning objects and instruction for the library’s Research Essentials program. She is a content creator and instructional designer for the New Literacies Alliance, an inter-institutional information literacy consortium. Julie is a Quality Matters Peer Reviewer. She received her masters of library and information science from the University of Iowa.
- Amanda Clossen has been working as the Learning Design Librarian at Penn State University Libraries for the past five years. In this position, she has worked on projects spanning the micro to macro aspects of learning design. She has created award-winning videos, overseen Penn State’s transition from an in-house guide product to LibGuides, and was deeply involved in integrating the Libraries in the new LMS, Canvas. Her research interests include accessibility, video usability, and concept based teaching.
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more on blended librarian in this IMS blog
https://blog.stcloudstate.edu/ims?s=blended+librarian
As discussed in https://blog.stcloudstate.edu/ims/2016/12/06/digital-curation/ and per Ungerer, L. M. (2016). Digital Curation as a Core Competency in Current Learning and Literacy: A Higher Education Perspective. The International Review of Research in Open and Distributed Learning, 17(5). https://doi.org/10.19173/irrodl.v17i5.2566
Scoop This: A Comprehensive Guide to Scoop.it for Content Curation
January 20, 2012 Gabriella Sannino
https://www.searchenginejournal.com/scoop-this-a-comprehensive-guide-to-scoop-it-for-content-curation/38963/
Content Curation, Not Content Aggregation
Scoop.it is not just another place to drop your RSS feed. It could be, but then it’s just another content aggregator.
curation online also has to demonstrate: mastery, passion, knowledge and expertise. Without such additional layers, a curated collection of links is just a collection of links.”
Using Scoop.it for Content Curation, Branding and Authority Building
Using Relative Keywords to Pull Content
- When you read an article you think would do well for your Scoop.it topic, click the Scoop.it bookmarklet, enter the information you want, and publish. This is a handy feature to have when you’re reading or researching about your favorite topics.
- Suggestion Engine for Sifting Through Content
Sometimes you don’t have time to search for content to curate. Scoop.it’s suggestion engine provides you with a list of suggested sites based on the keywords you enter. When you’re ready to add more content to your Scoop.it, simply scroll down the list of RSS feeds.
- Adding Your Own Sources for Reliable Content
Everybody has their favorite reads and twitter users or lists to follow. Scoop.it allows you to add your own sources, making it easier to find good content – not quite so much crud to weed through. RSS feeds, Twitter users, Twitter lists, Twitter searches, a Facebook page, and Google News, Blogs, or Video search: these options give you a variety of ways to include your favorite sources in your “suggested sources” box.
Curation is not original content. There is a place for curation. It’s right between content creation and content syndication. It’s an approach, placed neatly under the whole “strategic content use” outline. I don’t cut and paste the whole story on my page (I’m not a douche bag); I give my readers the reason I chose a particular post. I ask them questions, and let them know why I agree or disagree. Not on every post, but on most.
10 Steps To Curate Your Social Media Content With Scoop.it for Increased Value
http://socialmediapearls.com/10-steps-to-curate-your-social-media-content-with-scoop-it-for-increased-value/
Social media curation is when you filter, select, review and reposition quality content on the web for a specific audience and/or topic.
Scoop.it is a semi-automated curation platform. Scoop.it crawls the web according to apre-determined criteria and then allows the curator to review and reposition the filtered material prior to publishing. This repositioning could be in the form of contextual reorganization and/or commentary of the material to provide an overall perspective. Once the material has been curated, Scoop.it allows the curator to publish the material in an attractive web-magazine by topic. This web-magazine organizes each curated article into “sticky posts” on a digital interactive interface as shown in the examples below.
do you fall into any of the following categories 1) struggling to provide fresh consistent quality content for your audience; 2) cannot invest the time to write your blog; 3) looking for ways to expand your audience; 4) want to increase your service offering to your customer base; 5) want to establish yourself as a thought leader on a specific topic; 6) want to increase your social media visibility; 7) looking for other distribution channels to spread your word; and/or 8 ) looking for a curation option that is not automated so you can leave “your finger print”. If the answer is “yes” to one of any of the above, you should consider this option.
Here is how to curate your social media content using Scoop.it
- Your Name
- Your Profile Picture (Avatar)
- Your Bio
- Topic Title and Icon
- Topic Description
- Keywords and Sources
- Topic Background
- Original Post
- Curated Post
- Dialogue
Related articles
What is Dashter? It’s a tool that helps you manage your Twitter conversations and relationships all from the convenience of your WordPress Admin
Ungerer, L. M. (2016). Digital Curation as a Core Competency in Current Learning and Literacy: A Higher Education Perspective.
The International Review of Research in Open and Distributed Learning,
17(5).
https://doi.org/10.19173/irrodl.v17i5.2566 metaliteracy
Technology considerably impacts on current literacy requirements (Reinking, as cited in Sharma & Deschaine, 2016). Being literate in the 21st century requires being able to decode and comprehend multimodal texts and digital format and also engage with these texts in a purposeful manner. Literacy is not merely based on a specific skill, but consists of a process that embraces the dynamic, social, and collaborative facets of digital technology (Lewis & Fabos, as cited in Mills, 2013).
Mackey and Jacobson (2011) suggest reframing the concept of information literacy as metaliteracy (supporting multiple literacy types) because of a tremendous growth in social media and collaborative online communities. They propose that information literacy currently involves more than a set of discrete skills, since active knowledge production and distribution in collaborative online communities are also necessary.
Mackey and Jacobson (2011) position metaliteracy as an overarching and comprehensive framework that informs other literacy types. It serves as the basis for media literacy, digital literacy, ICT literacy, and visual literacy.
According to Mills (2013, p. 47), digital curation is the sifting and aggregation of internet and other digital resources into a manageable collection of what teachers and students find relevant, personalized and dynamic. It incorporates the vibrancy of components of the Internet and provides a repository that is easily accessible and usable.
Pedagogies of Abundance
According to Weller (2011), a pedagogy of abundance should consider a number of assumptions such as that content often is freely available and abundant. Content further takes on various forms and it is often easy and inexpensive to share information. Content is socially based and since people filter and share content, a social approach to learning is advisable. Further, establishing and preserving connections in a network is easy and they do not have to be maintained on a one-to-one basis. Successful informal groupings occur frequently, reducing the need to formally manage groups.
Resource-based learning. Ryan (as cited in Weller, 2011) defines resource-based learning as “an integrated set of strategies to promote student centred learning in a mass education context, through a combination of specially designed learning resources and interactive media and technologies.”
Problem-based learning. Problem-based learning takes place when learners experience the process of working toward resolving a problem encountered early in the learning process (Barrows & Tamblyn, as cited in Weller, 2011). Students often collaborate in small groups to identify solutions to ill-defined problems, while the teacher acts as facilitator and assists groups if they need help. Problem-based learning meets a number of important requirements such as being learner-directed, using diverse resources and taking an open-ended approach.
Communities of practice. Lave and Wenger’s (as cited in Weller, 2011) concept of situated learning and Wenger’s (as cited in Weller, 2011) idea of communities of practice highlight the importance of apprenticeship and the social role in learning.
My note: this article spells out what needs to be done and how. it is just flabeghasting that research guides are employed so religiously by librarians. They are exactly the opposite concept of the one presented in this article: they are closed, controlled by one or several librarians, without a constant and easy access of the instructor, not to mention the students’ participation
Save
Compensation for creation of online courses
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I absolutely echo Kimber’s notion that a team approach to course development can actually take longer, even when one of the team members is an instructional designer. Perhaps because faculty members are used to controlling all aspects of their course development and delivery, the division of labor concept may feel too foreign to them. An issue that is similar in nature and referred to as ‘unbundling the faculty role’ is discussed at length in the development of competency-based education (CBE) courses and it is not typically a concept that faculty embrace.
Robin
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I will also confirm that the team approach to course development can take longer. Indeed it does in my experience. It requires much more “back and forth”, negotiating of who is doing what, ensuring that the overall approach is congruent, etc. That’s not to say that it’s not a worthwhile endeavor in some cases where it makes pedagogical sense (in our case we are designing courses for 18-22 year-old campus-based learners and 22+ year-old fully online learners at the same time), but if time/cost savings is the goal, you will be sorely disappointed, in my experience. The “divide and conquer” approach requires a LOT of coordination and oversight. Without that you will likely have a cobbled together, hodgepodge of a course that doesn’t meet expectations.
Best, Carine Director, Office of Instructional Design & Academic Technology Ottawa University 1001 S. Cedar St. * Ottawa, KS 66067 carine.ullom@ottawa.edu * 785-248-2510
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Breaking up a course and coming up with a cohesive design and approach, could make the design process longer. At SSC, we generally work with our faculty over the course of a semester for each course. When we’ve worked with teams, we have not seen a shortened timeline.
The length of time it takes to develop a course depends on the content. Are there videos? If so, they have to be created, which is time-consuming, plus they either need to have a transcript created or they need subtitles. Both of those can be time-consuming. PowerPoint slides take time, plus, they need more content to make them relevant. We are working with our faculty to use the Universal Design for Learning model, which means we’re challenging them to create the content to benefit the most learners
I have a very small team whose sole focus is course design and it takes us 3-4 weeks to design a course and it’s our full-time job!
Linda
Linda C. Morosko, MA Director, eStarkState Division of Student Success 330-494-6170 ext. 4973 lmorosko@starkstate.edu
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Kelvin, we also use the 8-week development cycle, but do occasionally have to lengthen that cycle for particularly complex courses or in rare cases when the SME has had medical emergencies or other major life disruptions. I would be surprised if multiple faculty working on a course could develop it any more quickly than a single faculty member, though, because of the additional time required for them to agree and the dispersed sense of responsibility. Interesting idea.
-Kimber
Dr. Kimberly D. Barnett Gibson, Assistant Vice President for Academic Affairs and Online Learning Our Lady of the Lake University 411 SW 24th Street San Antonio, TX 78207 Kgibson@ollusa.edu 210.431.5574 BlackBoard IM kimberly.gibson https://www.pinterest.com/drkdbgavpol/ @drkimberTweets
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Hello everyone. As a follow-up to the current thread, how long do you typically give hey course developer to develop a master course for your institution? We currently use an eight week model but some faculty have indicated that that is not enough time for them although we have teams of 2 to 4 faculty developing such content. Our current assumption is that with teams, there can be divisions of labor that can reduce the total amount time needed during the course development process.
Kelvin Bentley, PhD Vice President of Academic Affairs, TCC Connect Campus Tarrant County College District
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At Berkeley College, full-time faculty may develop online courses in conjunction with an instructional designer. The course is used as a master template for other sections to be assigned from. Once the course has been scheduled and taught, the faculty member receives a stipend. The faculty member would receive their normal pay to teach the developed course as part of their semester course load, with no additional royalties assigned for it or any additional sections that may be provided to students.
Regards, Gina Gina Okun Assistant Dean, Online Berkeley College 64 East Midland Avenue, Suite 2, Paramus, NJ 07652 (973)405-2111 x6309 gina-okun@berkeleycollege.edu
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We operate with nearly all adjunct faculty where >70% of enrollment credits are onlinez
With one exception that I can recall, the development contract includes the college’s outright ownership, with no royalty rights. One of the issues with a royalty based arrangement would be what to do when the course is revised (which happens nearly every term, to one degree or another). At what point does the course begin to take on the character of another person’s input?
What do you do if the course is adapted for a shorter summer term, or a between-term intensive? What if new media tools or a different LMS are used? Is the royalty arrangement based on the syllabus or the course content itself? What happens if the textbook goes out of print, or an Open resource becomes available? What happens if students evaluate the course poorly?
I’m not in position to set this policy — I’m only reporting it. I like the idea of a royalty arrangement but it seems like it could get pretty messy. It isn’t as if you are licensing a song or an image where the original product doesn’t change. Courses, the modes of delivery, and the means of communication change all the time. Seems like it would be hard to define what constitutes “the course” after a certain amount of time.
Steve Covello Rich Media Specialist/Instructional Designer/Online Instructor Chalk & Wire e-Portfolio Administrator Granite State College 603-513-1346 Video chat: https://appear.in/id.team Scheduling: http://meetme.so/stevecovello
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I’ve worked with many institutions that have used Subject Matter Experts (SMEs) to develop or provide the online course content. Most often, the institutions also provide a resource in the form of an Instructional Designer (ID) to take the content and create the actual course environment.
The SME is paid on a contract basis for provision of the content. This is a one-time payment, and the institution then owns the course content (other than integrated published materials such as text books, licensed online lab products, etc.). The SME may be an existing faculty member at the institution or not, or the SME may go on to teach the course at the institution. In any event, whoever teaches the course would be paid the standard faculty rate for the course. If the course requires revisions to the extent that a person will need to be engaged for content updates, then that can be a negotiated contract. Typically it is some fraction of the original development cost. No royalties are involved.
Hap Aziz, Ed.D. @digitalhap http:hapaziz.wordpress.com
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Within SUNY, there is some variance regarding whether a stipend is paid for development or not. In either case, since we are unionized there is policy regarding IP. IP resides with the faculty developer unless both parties agree in writing in the form of a contract to assign or share rights.
Policy statement: http://uupinfo.org/reports/reportpdf/IntellectualPropertyUpdated2016.pdf
Thank you for your feedback on this issue. Our institution does does not provide a royalty as we consider course development as a fee-for-service arrangement. We pay teams of 2-4 faculty $1000 each to develop master course shells for our high-enrollment courses. Instead of a royalty fee, I think an institution can simply provide course developers the perk of first right of refusal to teach the course when it offered as well as providing course developers with the first option to make revisions to the course shell over time.
Kelvin
Kelvin Bentley, Ph.D. Vice President of Academic Affairs, TCC Connect Campus Tarrant County College District
Once upon a time, and several positions ago, we set up a google doc for capturing all kinds of data points across institutions, like this. I’m sure it’s far out of date, but may still have some ideas or info in there – and could possibly be dusted off and oiled up for re-use… I present the Blend-Online Data Collector. This tab is for course development payment.
Kind regards,
Clark
Clark Shah-Nelson
Assistant Dean, Instructional Design and Technology
University of Maryland School of Social Work—Twitter … LinkedIn —voice/SMS: (646) 535-7272fax: 270.514.0112
Hi Jenn,
Just want to clarify…you say faculty “sign over all intellectual property rights of the course to the college.” but later in the email say “Faculty own all intellectual property and can take it with them to teach at another institution”, so is your policy changing to the former? Or, is it the later and that is what you are asking about?
I’ll send details on our policy directly to your email account.
Best,
Ellen
On Tue, Dec 6, 2016 at 9:43 AM, Jennifer Stevens <jennifer_stevens@emerson.edu> wrote:
Hello all,
I am tasked with finding out what the going rate is for the following model:
We pay an adjunct faculty member (“teaching faculty”) a set amount in order to develop an online course and sign over all intellectual property rights of the course to the college.
Is anyone doing this? I’ve heard of models that include royalties, but I personally don’t know of any that offer straight payment for IP. I know this can be a touchy subject, so feel free to respond directly to me and I will return and post a range of payment rates with no other identifying data.
For some comparison, we are currently paying full time faculty a $5000 stipend to spend a semester developing their very first online class, and then they get paid to teach the class. Subsequent online class developments are unpaid. Emerson owns the course description and course shell and is allowed to show the course to future faculty who will teach the online course. Faculty own all intellectual property and can take it with them to teach at another institution. More info: http://www.emerson.edu/itg/online-emerson/frequently-asked-questions
I asked this on another list, but wanted to get Blend_Online’s opinion as well. Thanks for any pointers!
Jenn Stevens
Director | Instructional Technology Group | 403A Walker Building | Emerson College | 120 Boylston St | Boston MA 02116 | (617) 824-3093
Ellen M. Murphy
Director of Program Development
Graduate Professional Studies
Brandeis University Rabb School
781-736-8737
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more on compensation for online courses in this IMS blog:
https://blog.stcloudstate.edu/ims?s=online+compensation
Supporting Student Engagement and Recognizing Learning With Digital Badges
Veronica Diazhttps://www.league.org/innovation-showcase/supporting-student-engagement-and-recognizing-learning-digital-badges
Digital badges unify the learning that happens in these diverse contexts—often at a relatively granular level—with a common and portable representation of achievement.
Digital badges:
- include a consistent set of metadata or information about the nature of the assessment, experience, or criteria that led to the skills or competency-based outcomes represented;
- incorporate authentic evidence of the outcome being certified;
- can be shared, displayed, or pulled into different kinds of platforms and environments in both human-readable and machine-readable formats;
- can be distributed in a simple, consistent format, fostering relationship building, networking, and just-in-time career development opportunities;
- are searchable and discoverable in a range of settings; and
- offer data and insights about how and where they are used, valued, and consumed.
As a marker of achievement, a digital badge looks both backward and forward at the same time: backward to the experience or assessment that was completed to qualify for it, and forward to the benefits, rewards, or new opportunities available to those who have earned it.
Some of the possibilities you might consider include:
- Serving as an alternate qualification for lifelong learning. Degrees and licenses certify summative achievements often following formal education programs or courses of study; do your digital badges provide official certification recognizing learning that is more granular, formative, or incremental?
- Surfacing, verifying, or sharing evidence of achievement. How can we surface discrete evidence that certifies a skill or accomplishment, and by doing so arm learners with official recognition they can use toward new opportunities? Does validating and making a specific success or outcome more visible, portable, and sharable help a learner move successfully from one learning experience to the next?
- Democratizing the process of issuing credit. How can we empower anyone who can observe or assess meaningful achievements to issue digital recognition of those accomplishments, even if that means that credential issuing becomes less centralized?
- Exposing pathways and providing scaffolding. How can we better suggest or illuminate a path forward for learners while also enabling that pathway and progress to be shared with an external audience of peers or potential employers?
- Supporting ongoing engagement. How can digital badges support learners incrementally as they progress through a learning experience? Can we enhance motivation before and after the experience?
The process for developing an effective badge system can be broken into steps:
- Create a badge constellation. A constellation is a master plan or blueprint that shows all of the badges you intend to offer and how they relate to core themes or to each other.
- Map meaning to each badge and to the overall badge system. Ensure that each part of your constellation has a value to the earner, to your organization, and to those who would reward or offer opportunities to bearers of each badge.
- Identify or develop an assessment strategy. How will you know when an earner is ready to receive a badge? Are existing assessments, observation opportunities, or measures already in place, or does your system require new ways to determine when an individual has qualified for a digital badge or credential? What activities or work will be assessed, and what evidence can accompany each issued badge?
- Determine relationships within the system and how learners progress. Is your plan one that shows progress, where components build on one another? How does one badge relate to another or stack to support ongoing personal or professional development?
- Incorporate benefits, opportunities, and rewards into the system. Work backwards from the benefits that will be available to those who earn badges in your system. Does each badge serve a greater purpose than itself? What doors does it unlock for earners? How will you communicate and promote the value of your badges to all constituents?
- Address technology considerations. How will you create and issue badges? Where and how will the badges be displayed or consumed by other systems and platforms in which they realize their potential value?
- Develop an appropriate graphic design. While the visual design is but one element of a badge rich with data, how an achievement is visually represented communicates a great deal of additional information. Digital badges offer a unique and powerful opportunity to market the skills and capabilities of those who complete your programs, and badges promote your initiatives as well as your organization and what it values.
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more on badges in this blog
https://blog.stcloudstate.edu/ims?s=badges
Badging: Not Quite the Next Big Thing
While badging and digital credentialing are gaining acceptance in the business world and, to some extent, higher education, K-12 educators — and even students — are slower to see the value.
By Michael Hart 07/20/16
https://thejournal.com/articles/2016/07/20/badging-not-quite-the-next-big-thing.aspx
That’s when the MacArthur Foundation highlighted the winning projects of its Badges for Lifelong Learning competition at the Digital Media and Learning Conference in Chicago. The competition, co-sponsored by the Bill & Melinda Gates Foundation and the Mozilla Foundation, had attracted nearly 100 competitors a year earlier. The winners shared $2 million worth of development grants.
Evidence of Lifelong Learning
A digital badge or credential is a validation, via technology, that a person has earned an accomplishment, learned a skill or gained command of specific content. Typically, it is an interactive image posted on a web page and connected to a certain body of information that communicates the badge earner’s competency.
Credly is a company that offers off-the-shelf credentialing and badging for organizations, companies and educational institutions. One of its projects, BadgeStack, which has since been renamed BadgeOS, was a winner in the 2013 MacArthur competition. Virtually any individual or organization can use its platform to determine criteria for digital credentials and then award them, often taking advantage of an open-source tool like WordPress. The credential recipient can then use the BadgeOS platform to manage the use of the credential, choosing to display badges on social media profiles or uploading achievements to a digital resume, for instance.
Finkelstein and others see, with the persistently growing interest in competency-based education (CBE), that badging is a way to assess and document competency.
Colorado Education Initiative, (see webinar report in this IMS blog https://blog.stcloudstate.edu/ims/2016/06/20/colorados-digital-badging-initiative/)
There are obstacles, though, to universal acceptance of digital credentialing.
For one, not every community, company or organization sees a badge as something of value.
When a player earns points for his or her success in a game, those points have no value outside of the environment in which the game is played. For points, badges, credentials — however you want to define them — to be perceived as evidence of competency, they have to have portability and be viewed with value outside of their own environment.
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More on badges in this IMS blog:
https://blog.stcloudstate.edu/ims?s=badges
Our discussion:
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Main speaker: Ken Chapman
mapping what students are looking at the screen
intelligent agent: dancing hamster
immediate gratification – certification, this is practically badges
story builder – D2L tool
D2L dropbox – look previous assignments and submissions within dropbox
time savers: 1. miss an assignment deadline – use agent. My note: how does it roll over? how much time and effort to condition it after it is rolled over?
text expanders: create codes in the browsers to evoke repetitions (;runon)
“Daylight Experience” is the D2L new look and feel put on D2L. nice clean modern looking.
Mobile First, API Access, Assessments, Advanced CBE (competency-based education programs), Predictive Analytics (recommendation system to pick right course, red flags, Dashboards,
Content:
interactive publisher material. Dates and Feeds on Mobile, Curriculum Planning
Capture: my note – how does it fit with MediaSpace
ePortfolio my note – how does it fit TK-20
Repository – open content, publishers, how to bring easier into a course
Adaptive learning
D2L purchased a module. publisher packets, adaptive textbooks. D2L looks at it as an engine where faculty feeds the idea and the engine is making the links and structuring the ideas into content. It also the engine checks what learners already know and based on results finds knowledge gaps.
need well defined learning objective, good content and ways to assess the material.
Start with creating support course delivery, test preparation.
Learning made visible: successful ePortfolio patterns across the U.S.
- Register for first AAEEBL webinar of 2015-2016 on September 16 at 1 pm US EDT. Jeff Yan of Digication addressing
“Learning made visible: successful ePortfolio patterns across the U.S.”
Jeff, a former academic, is the CEO of Digication, one of the most successful eportfolio companies in the U. S. He will help us understand the big picture: how are eportfolios being used on campuses and what works best.
This Webinar is co-sponsored by AAC&U, EPAC and IJeP.
Once you register, you will see an acknowledgement page with the URL to go to on Wednesday. You will not need a password.
Recording available:
https://aaeebl.adobeconnect.com/_a1112910704/p7rqj8k25l4/?launcher=false&fcsContent=true&pbMode=normal
The International Journal of ePortfolio (IJeP) is a double-blind, peer-reviewed, open access journal freely available online. http://www.theijep.com/
https://pathbrite.com/
https://pathbrite.com/u1545957793/profile
digication https://www.digication.com/
Pebble Pad http://www.pebblepad.co.uk/
Portfolium https://portfolium.com/
Using an ePortfolio to Assess the Outcomes of a First-Year Seminar: Student Narrative and Authentic Assessment; http://www.theijep.com/pdf/IJEP133.pdf
http://eportfolio.nd.edu/
Association for Authentic, Experiential and Evidence-Based Learning http://www.aaeebl.org/
themes: strong admin support, instructional design
crowdsourcing: teacher asks students to respond to critical thinking q/s and students populate their eportfolio
make learning visible for ” students, faculty, institution and employer
E-Portfolios: Competency Marketplaces For Colleges
http://www.forbes.com/sites/ryancraig/2015/07/29/e-portfolios-competency-marketplaces-for-colleges/
only 13% of Millennials are using LinkedIn and only 7% more have future plans to do so. As I think about it, this makes sense. LinkedIn’s content isn’t directed at traditional-age college students. And few students have professional relationships or relevant work experience to show, which is the whole point of $LNKD.
How does the ePortfolio support in helping students achieve those goals. The ePortfolio should not be another thing they (and the faculty) need to do on top of everything else they are already doing.
