The Move from Course Management to Course Networking
A Q&A with Ali Jafari
http://campustechnology.com/articles/2015/08/18/the-move-from-course-management-to-course-networking.aspx
We need now to have a totally new type of learning environment, both conceptually and technically, and it will also need to be different from a business perspective.
You might think of CN (Course Networking) as a complete social learning suite combined with comprehensive learning management tools, along with associated elements like ePortfolio, data mining, globalization and collaboration tools, and much more.
Every student on the CN has a “social portfolio”, which will be there for the student to access, life long. This social portfolio is different from a “typical” ePortfolio in several ways, but importantly, it can be created dynamically — for example, a teacher might check a box indicating that each student in the top ten percent of her class will receive a badge. Beyond that checkbox, everything happens automatically, without a need for the student to locate and upload the badge for display, and no need for the teacher to monitor or be further involved with the awarding of badges. As a student I can manage my social portfolio, and determine who will see or not see certain elements of it.
we are building and maintaining really one big network — instead of necessarily supporting many, many independent institutional client implementations.
LITA’s forum has a question, which many are waiting for an answer:
From: David Library [mailto:dvp.sohd@gmail.com]
Sent: Wednesday, June 24, 2015 9:42 AM
To: lita-l@lists.ala.org
Subject: [lita-l] Re: Getting Into Drones
Cool. My girlfriend and I build them. Lots of fun and POWERFUL.
https://youtu.be/rXtjjwk0ZKQ
On Wed, Jun 17, 2015 at 6:20 PM, Cody Behles (cbehles) <cbehles@memphis.edu> wrote:
We are implementing a drone lending program at my institution. I am familiar with the University of South Florida case, but does anyone else have a drone lending program in their library (preferably one that is not being held up by the FAA)?
Cody Behles
Emerging Technologies Librarian
University Libraries
126 Ned R. McWherter Library
University of Memphis
Memphis, Tennessee USA 38152
901-678-4558
> 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/
