THE E-COMMERCE DEMOGRAPHICS REPORT: The biggest shifts of the past year in who shops online and on mobile
Are you feeling old yet?
I therefore approach that aspect of the FYW class with this baseline assumption: Most of the eighteen- to twenty-year-olds who attend The University of Arizona already communicate via digital technologies in various ways and can learn to use template-based applications with relative ease, especially if they are first given time during class to collaborate on penalty-free projects with select applications.
Beyond that initial experimentation with the capabilities and functionality of new technologies, what FYW students most need to learn in our limited time is a thing or two about conventions that span across many online publishing venues and multimodal genres (such as nonlinearity and linking) and basic design principles (such as visual organization, coherence, and impact). Also essential are multiple conversations about fair use, copyright, and other ethical concerns regarding representation of self, others, and ideas that students must consider when going public with their compositions. Such an approach builds on what Stuart Selber (2004) calls the “functional literacy” of digital technology that FYW students typically bring to these classes, challenging students to develop critical and rhetorical literacies and become questioners and producers of digital texts.
I ask my FYW students to translate their written public arguments (open letters; letters to editors, public figures, or organizations; opinion columns; perspective-forwarding creative nonfiction) into more visually and/or aurally oriented arguments (via Prezi or YouTube; through the creation of editorial cartoons, infographics, public service announcements or other multimodal texts). (For more information, see the assignment sheet
Sinprakob, S., & Songkram, N. (2015). A Proposed Model of Problem-based Learning on Social Media in Cooperation with Searching Technique to Enhance Critical Thinking of Undergraduate Students. Procedia – Social And Behavioral Sciences, 174(International Conference on New Horizons in Education, INTE 2014, 25-27 June 2014, Paris, France), 2027-2030. doi:10.1016/j.sbspro.2015.01.871
Bailey, A. (2014). Teaching Alice Walker’s The Color Purple: Using Technology and Social Media To Foster Critical Thinking and Reflection. Virginia English Journal, 64(1), 17.
Eales-Reynolds, L., Gillham, D., Grech, C., Clarke, C., & Cornell, J. (2012). A study of the development of critical thinking skills using an innovative web 2.0 tool. Nurse Education Today, 32(7), 752-756. doi:10.1016/j.nedt.2012.05.017
Baldino, S. (2014). The Classroom Blog: Enhancing Critical Thinking, Substantive Discussion, and Appropriate Online Interaction. Voices From The Middle, 22(2), 29.
Ravenscroft, A., Warburton, S., Hatzipanagos, S., & Conole, G. (2012). Designing and evaluating social media for learning: shaping social networking into social learning?. Journal Of Computer Assisted Learning, 28(3), 177-182. doi:10.1111/j.1365-2729.2012.00484.x
Education is clearly a social process but it is probably much closer to an ongoing discussion or debate than an extended celebration with an ever-expanding network of friends (p. 179, Ravenscroft et al.)
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.
Pebble Pad http://www.pebblepad.co.uk/
Using an ePortfolio to Assess the Outcomes of a First-Year Seminar: Student Narrative and Authentic Assessment; http://www.theijep.com/pdf/IJEP133.pdf
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
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.
1- My students should be able to create presentations
2- My students should be able to create digital stories.
3- My students should be able to create eBooks
4- My students should be able to print their docs right from their iPad
5- My students should be able to create videos
6- I want to Improve my students reading skills
7- My students should be able to take notes on their iPad
8- My students should be able to create written content on their iPads
9- My students should be able to use White Boards from their iPads
10-My students should be able to record audio clips
11- My students should be able to screen share
12-My students should be able to do their homework with the help of iPad
13- My students should be able to create mind maps
14-My students should be able to do research using iPad
15-My students should be able to create digital portfolios
1- Create and edit digital audio
2- Use Social bookmarking to share resources with and between learners
3- Use blogs and wikis to create online platforms for students
4- Exploit digital images for classroom use
5- Use video content to engage students
6- Use infographics to visually stimulate students
7- Use Social networking sites to connect with colleagues and grow professionally
8- Create and deliver asynchronous presentations and training sessions
9- Compile a digital e-portfolio for their own development
10- be able to detect plagiarized works in students assignments
11- Create screen capture videos and tutorials
12- Curate web content for classroom learning
13- Use and provide students with task management tools to organize their work and plan their learning
14- Use polling software to create a real-time survey in class
15- Understand issues related to copyright and fair use of online materials
16- Use digital assessment tools to create quizzesHere are some tools for teachers to develop this skill
17- Find and evaluate authentic web based content
18- Use digital tools for time management purposes
19- Use note taking tools to share interesting content with your students
20- Use of online sticky notes to capture interesting ideas
> The post 29.126 has been niggling at me for days. I originally want to
> reply with a simple observation that the appeal to storytelling is
> cast in such a way to avoid the complications of narration’s relation
> to narrative (the telling and the told; shown and said). But it was
> the theme of “borrowing” from one domain by another that leads me to
> recall a counter-narrative where there is no need to borrow between
> domains since the military-industrial-entertainment complex is one entity.
> I contend that fundamental to human interaction is narration:
> attentiveness to how stories are related. Stories are for sorting and
> storing. *Sometimes this soothes paranoia induced by too much
> A while ago (1996), I explored recursivity and narrativity. My
> starting point was the ability to ask questions (and learn from one’s
> bodily reactions). The musings may or may not have military relevance.
> Judge for
> Pedagogical situations are sensory. They are also interpersonal.
> Because they are sensory this makes even learning by oneself interpersonal.
> Egocentric speech is like a dialogue between the senses. In
> Vygotsky’s and Luria’s experiments, children placed in problem-solving
> situations that were slightly too difficult for them displayed egocentric speech.
> One could consider these as self-induced metadiscursive moments. The
> self in crisis will disassociate and one’s questionning becomes the
> object of a question.
> Not only is the human self as a metabeing both fracturable and
> affiliable in itself, it is also prone to narrativity. That is, the
> human self will project its self-making onto the world in order to
> generate stories from sequences and to break stories into recombinant
> sequences. Its operations on signs are material practices with consequences for world-making.
> The fracturable affiliable self calls for reproductive models suitable
> to the interactions of multi-sensate beings, models that render dyads
> dialectical, questionable, answerable. Narrativity understood
> dialectically does not merely mean making sequences or strings of
> events into stories but also stories into things, strung together for
> more stories. From such an understanding, emerge non-dyadic
> narratives of reproduction, narratives where a thing-born transforms
> itself into an event, comes to understand itself as a process.
> Funny to consider that those remarks were based in a consideration of
> language and feedback mechanisms. Make me think that the storytelling
> as “potent form of emotional cueing” may be directed to undesired
> responses such as greater self-reflexivity. And depending on how they
> are parsed, Hollywood films can contribute to undesired responses
> including escape.
> Francois Lachance, Scholar-at-large
> to think is often to sort, to store and to shuffle: humble, embodied
> On Mon, 29 Jun 2015, Humanist Discussion Group wrote:
>> Sharon Ghamari-Tabrizi, in “The Convergence of the Pentagon and
>> Hollywood” (Memory Bytes: History, Technology, and Digital Culture, ed.
>> Rabinovitz and Geil, 2004), describes in some detail the adoption by
>> the U.S. military of the entertainment industry’s storytelling
>> techniques implemented by means of simulation. This chapter follows
>> on from her excellent “Simulating the Unthinkable: Gaming Future War
>> in the 1950s and 1960s”, Social Studies of Science 30.2 (2000). In
>> the 2004 piece she describes a U.S. National Research Council
>> workshop in October 1996 at which representatives from film, video
>> game, entertainment and theme-parks came together with those from the
>> Department of Defense, academia and the defense industries. There is
>> much about this convergence that we might productively take an
>> interest in. Let me, however, highlight storytelling in particular.
>> In a military context, Ghamari-Tabrizi points out, skilled
>> storytelling techniques are used to help participants in a VR
>> environment sense that they are in a real environment and behave
>> accordingly. Storytelling functions as a potent form of emotional
>> cueing that would seem to elicit the desired responses. But
>> especially interesting, I think, is the fact that “many conference
>> participants argued that the preferred mode of experiential immersion
>> in electronic media is not the unframed chaos of hypertext, but
>> old-fashioned storytelling.” She quotes Alex Seiden of Industrial
>> Light and Magic (note the date — 1996): “I’ve never seen a CD-ROM
>> that moved me the way a powerful film has. I’ve never visited a Web
>> page with great emotional impact. I contend that linear narrative is
>> the fundamental art form of humankind: the novel, the play, the film… these are the forms that define our cultural experience.”
>> Willard McCarty (www.mccarty.org.uk/), Professor, Department of
>> Digital Humanities, King’s College London, and Digital Humanities
>> Research Group, University of Western Sydney
There are a lot of interesting ways to integrate storytelling into your social videos. In addition to those featured above, here are some other stories that are well suited for video:
Computers and the software they run are not magic. Nor should they be perceived as such.
Learning to code is not valuable because everyone needs to program computers, but because such an integral part of modern life needs to be understood at a basic, comprehensible level.
More on coding and education in this blog: