Zhang, X., Chen, H., Pablos, P. O. de, Lytras, M. D., & Sun, Y. (2016). Coordinated Implicitly? An Empirical Study on the Role of Social Media in Collaborative Learning. The International Review of Research in Open and Distributed Learning, 17(6). https://doi.org/10.19173/irrodl.v17i6.2622
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
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
According to the report, one of the main reasons for the growth in generic e-learning content and courses is the adoption of teaching and learning methods such as the flipped classroom, blended learning and virtual classrooms
The report identifies the proliferation of mobile devices on campus as the third factor helping to drive adoption of these courses. “The availability of gadgets such as e-book readers, tablets, and laptops, coupled with better and uninterrupted Internet connectivity, has led to a greater penetration of digital classrooms and e-learning products,”
What Does Recent Pedagogical Research Tell Us About eLearning Good Practice?
Many instructors indicate that they want their elearning teaching approaches to be evidence-based. Indeed, there are rich and varied sources of research being conducted on elearning good practices available in scholarly journals and government reports. However, few of us have time to keep up with these publications. In this session Christina Petersen will do some of that work for you. She summarize findings from recent government and university reports which review over 1,000 online learning studies. Additionally, she will summarize the findings from newly published articles from pedagogical journals with important information about good practices in online education. These practices address evidence-based methods for promoting student engagement in online courses, good practices for video production, and other topics related to online teaching. We will discuss the importance of all of these findings for your teaching.
Christina Petersen is an Education Program Specialist in the Center for Educational Innovation at the University of Minnesota where she partners with faculty and departments to help create and redesign courses and curriculum to promote maximal student learning. She facilitates a monthly Pedagogical Innovations Journal Club at the CEI. She has a PhD in Pharmacology and her teaching experience includes undergraduate courses in Pharmacology, and graduate courses in Higher Education pedagogy. Her teaching interests include integrating active learning into science courses, teaching in active learning classrooms, and evidence-based teaching practice. She is co-author of a soon-to-be-released book from Stylus, “A Guide to Teaching in Active Learning Classrooms”
The study, conducted by adaptive learning provider Front Row Education, found that 75 percent of teachers use technology with students on a daily basis and that a bit more than half have a 1-to-1 ratio of devices to students in their classrooms (up 10 points from last year’s survey). That increase in student devices is helping to drive an increase in the use of technology, with about 60 percent of teachers surveyed saying they expect to increase the use of technology in the 2016–2017 school year.
60 percent of teachers have access to Chromebooks, up 15 percent from last year; 64 percent have access to iPads, down 5 percent from last year. iPads tend to be the tool of choice in lower grades (75 percent in K–2), while Chromebooks dominate the middle school years (66 percent). Interestingly,
What suggestions do you have to make the course better for you, your peers, or the instructor?
Katie Linder Research Director Extended Campus, Oregon State University 4943 The Valley Library Corvallis, Oregon 97331 Phone 541-737-4629 | Fax 541-737-2734 Email: email@example.com
At the University of Illinois, we have been using Informal Early Feedback as a way to gauge information from our students to help improve the courses before the end. Here are a couple of links to our site. The first is the main page on what IEF is and the second is the question bank we offer to faculty. This is a starting point for them, then we meet with those who want to work on tweaking them for their specific needs.
Discussion on the EDUCAUSE Blended and Online Learning Group’s listserv
I head an instructional design unit and we’ve been noticing that instructors with no experience in online teaching seem to struggle to teach in a blended environment. They get easily confused about 1) how to decide what content is best suited for in class and what goes online and 2) they also have difficulty bridging the two modalities to create a seamless and rich learning environment.
Oregon State University has a hybrid course design program that is a partnership between OSU’s Ecampus and our Center for Teaching and Learning. You can find quite a few resources here: http://ctl.oregonstate.edu/hybrid-learning
Shannon Riggs Director, Course Development and Training Oregon State University Ecampus 4943 Valley Library Corvallis, OR 97331-4504 541.737.2613
You might find my recent book The Blended Course Design Workbook: A Practical Guide to be a helpful resource. Each chapter has a literature review of the relevant research as well as activities to guide faculty through the various components of blended course design. You can read the first chapter on the fundamentals of blended teaching and learning at the publisher website. The book also has a companion website with additional resources here: http://www.bcdworkbook.com.
Katie Linder Research Director Extended Campus, Oregon State University 4943 The Valley Library Corvallis, Oregon 97331 Phone 541-737-4629 | Fax 541-737-2734 Email: firstname.lastname@example.org Twitter: @ECResearchUnit & @RIA_podcast Check out the Research in Action podcast: ecampus.oregonstate.edu/podcast
If you go to the Facebook Live Map and browse the live feeds, you’ll often see people talking about nothing in particular, with unflattering close-up camera angles and scratchy audio. People often shift their phones from hand to hand when they tire of holding them, and brush the mic without realizing it.
#2: Invest in a Mobile Phone Setup Budget: $150-$300
iPhone Setup When choosing a mount for an iPhone, consider the iOgrapher ($60), shown below. Attach the 37mm wide angle lens ($40) if you want to get more people or surroundings in the video. Android and Windows Phone Setup The Saramonic SmartMixer ($149) fits any phone (including the iPhone) and incorporates both audio and video stabilization in one piece of gear. The mics are stereo, and you can angle them however you want to capture multiple people talking.
#3: Broadcast From Your Desktop
Budget: Free-$600 Going live from your computer allows you to bring in guests to interview, add pre-recorded video, graphics, titles (so people know who the hosts are), and more.
You can use the built-in camera on your computer or a USB camera, like the Logitech C920 ($99).
OBS OBS (Open Broadcaster Software) is open-source software, which means it’s available for free.
OBS is a great option, but it doesn’t have all of the bells and whistles of paid software to make it intuitive or easy to use. You’ll need to do a bit of setup and testing before you go live.
Wirecast Wirecast ($495) has been around for years and has come a long way in the last few months as Facebook Live has exploded in popularity. The interface is a little more intuitive than OBS, but still requires some setup and experimentation.
Adobe Spark Video is an elegant, easy-to-use tool for creating animated videos that tell a story. It’s available as a browser-based cloud app or as an iOS app. You can get it as a single app or install the 3-in-1 tool to access the Spark Post and Spark Page companion apps too.
What’s great about Spark Video is that it’s quick. You can create a compelling animated video story in just minutes without any design experience, and work on your project from anywhere. As a cloud-based tool, your progress is saved and synced automatically, so you can work on it on mobile or desktop whenever creative inspiration strikes.
Now let’s look at a tool that’s similar to Adobe Spark, but gives you more flexibility over your content. Animoto is an affordable, cloud-based tool that offers an assortment of choices and customizations to create a one-of-a-kind video to tell your brand’s story.
This tool gives you a little more control than Adobe Spark Video. You can start with a blank canvas (choosing your own colors, styles, and frames to more closely match your brand) or adapt one of the tool’s wide variety of templates.
YouTube Director is a revolutionary tool to create video ads for business. Geared toward small local businesses, it’s a foolproof way to tell a compelling story in a short format.
As you follow the prompts, you’re guided to capture images, video, and voiceovers. Then you can post the video and run a video ad campaign on YouTube.