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.
How to Host and Promote a Twitter Chat
http://www.socialmediaexaminer.com/how-to-host-and-promote-a-twitter-chat/
listen to the show: http://www.socialmediaexaminer.com/?powerpress_pinw=86452-sme-show
#1: Define the Objective
Always start by defining the objective of your Twitter chat. Find a topic that will appeal to your target audience.
The chat needs to provide value to your audience to be successful. Don’t make it just about your company; tailor it to how you can help your community. For example, if you’re in the photography industry, invite guests to discuss photo editing tips, black-and-white photography, photography inspiration, etc.
An added benefit is that you can repurpose all of the chat contributions into a future blog post. Those who participated in the chat will appreciate having a summary of it, and readers who missed it will enjoy the insight.
#2: Identify Similar Chats
Once you’ve established an objective for your chat, find at least five Twitter chats similar to yours to gather ideas. You can find Twitter chats with tools like TweetReports and Gnosisarts.
TweetReports shows the scheduled times for chats on various topics.
Learn how these chats work. Observe how the host controls the flow of conversation and directs topics. Also find out which guests are invited, how many questions are posed, what times the chats are held and how they’re promoted.
Be sure to participate as well. Answer questions and engage with others. This allows you to build your expertise and gives you insight into what it’s like to participate in a Twitter chat.
#3: Set the Date and Time
#4: Choose a Hashtag
Now comes the fun part: naming your Twitter chat. Typically every chat hashtag ends with “chat” (for example, #mediachat, #influencerchat and #blogchat). Adding the word “chat” signals to people that it’s a Twitter chat instead of a regular hashtag or an event.
When choosing a hashtag, make sure it fits your brand. Also, check that it’s not a Twitter username and hasn’t been used as a hashtag previously.
Use Twitter search to see if your chat hashtag has been used before.
Brainstorm at least 15 chat names and then pick the best one. You might want to seek input from your co-workers.
After you select a hashtag, make sure that you register the Twitter username. You can use this account to hold your chats.
#5: Invite Guests
Next, make a list of at least 20 guests you want to invite.
Ideally, you want someone who has experience being a guest and is interested in holding Twitter chats. If you have an influential user who loves your company, consider inviting that person to be a guest, too.
#6: Prepare Questions
Once you have everything in place and have secured at least four guests in advance, start preparing questions. You’ll need about 7 to 10 questions for your guests. Send these questions to them at least 72 hours prior to the chat so they can prepare their responses.
During the chat, spread out the questions about 6 to 8 minutes apart. Ask your last question about 10 minutes before the end of the chat to allow time for the community to discuss it.
#7: Promote the Chat
The key to making your Twitter chat stand out is to promote it. Here are some ways to do that:
Partner With Other Chats
Partner with other chats to co-promote your chats.
Invite Fans
Promote your chat 12 to 24 hours prior to the event.
Send a Facebook event invite as another way to ask people to join your chat. This is a great way to make sure people will come and remember the date. You can also get word out by sending an email blast through your newsletter.
#8: Run the Chat
On the big day, you’ll need an outline to work from. Here’s a basic script for a Twitter chat.
Five Minutes Before the Chat
Our chat will start in a few minutes. In the meantime, please introduce yourself and what you do [#chatname].
Start of the Chat
It’s time for our [#chatname]! Tonight’s guest is @_____ from _____ who will share _____ with us.
Everyone, please welcome our guest _____ from @_____ to our [#chatname] tonight!
Two to Three Minutes Before the Chat Ends
Everyone, please thank @_____ from _____ for adding so much value to our [#chatname].
Next week we’ll have @_____ from _____, who will be discussing _____. See you next week!
Don’t forget to join (other Twitter chat that you partnered with) now! They have @_____ as their guest.
The easiest way to manage your chat is to use a tool like TweetChat. You can hide retweets so you see mentions only from people, which enables you to respond quickly. TweetChat also automatically adds the chat hashtag to your responses.
#9: Track Results
> Willard,
>
> 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
> linearity.*
>
> 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
> yourselves:
>
> <quote>
>
> 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.
>
> </quote>
>
> http://homes.chass.utoronto.ca/~lachance/S6D.HTM
>
> 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
> http://www.chass.utoronto.ca/~lachance
>
> to think is often to sort, to store and to shuffle: humble, embodied
> tasks
>
> 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.”
>>
>> Comments?
>>
>> Yours,
>> WM
>> —
>> Willard McCarty (http://www.mccarty.org.uk/), Professor, Department of
>> Digital Humanities, King’s College London, and Digital Humanities
>> Research Group, University of Western Sydney
Turning Technophobia through Digital Storytelling
http://www.nmc.org/blog/turning-technophobia-through-digital-storytelling/
