203 Matching Annotations
  1. Aug 2020
    1. pplication of knowledge and understandings to the complex diversity of real world situations and testing their validity.

      applying appropriately lets learners put what they know into real world problems

    2. This is a process of making the world anew with fresh and creative forms of action and perception.

      Applying creatively

    3. ‘Analysing Functionally’ includes processes of reasoning, drawing inferential and deductive conclusions, establishing functional relations such as between cause and effect and analysing logical and textual connections. Learners explore causes and effects, develop chains of reasoning and explain patterns in text. And ‘Analysing Critically’ (that is, more critically than functionally) involves evaluation of your own and other people’s perspectives, interests and motives. In these knowledge processes, learners interrogate the interests behind a meaning or an action, and their own processes of thinking

      Two ways of analyzing: functionally and critically

    4. Conceptualising requires that learners be active concept and theory-makers. It also requires weaving between the experiential and the conceptual (Kalantzis and Cope, 2005). This kind of weaving is primarily cognitive, between Vygotsky’s world of everyday or spontaneous knowledge and the world of science or systematic concepts, or between the Piaget’s concrete and abstract thinking (Cazden, 2006a).

      Connection of transformative pedagogy to educational theorists Vygotsky and Piaget; Conceptualization weaves construct and abstract world, theory and practice

    5. Meanings are grounded in real world of patterns of experience, action and subjective interest

      Experience, action, and interest are the real tools of learning; connection to Dewey; its not just the experience, but the reflection on the experience

    6. Transformed Practice. In applying these ideas to curriculum realities over the past decade, we have reframed these ideas somewhat and translated them into the more immediately recognisable pedagogical acts or ‘knowledge processes’ of ‘Experiencing’, ‘Conceptualising’, ‘Analysing’ and ‘Applying’

      pedagogical acts/knowledge processes of transformative pedagogy/multiliteracy pedagogy are experiencing, conceptualizing, analyzing, and applying

    7. Didactic teaching promotes mimesis—the transmission and acquisition of the rules of literacy, for instance. Teaching is a process of transmission. Cultural stability and uniformity are the results. Building by contrast on its notions of design and meaning-as-transformation, a pedagogy of Multiliteracies is characteristically transformative. Transformative curriculum recognises that the process of designing redesigns the designer (Kalantzis, 2006a). Learning is a process of self-re-creation. Cultural dynamism and diversity are the results.

      Difference between a skill and drill pedagogy versus a multiliteracy/design pedagogy

    8. Web-pages today are full of written text, but the logic of their reading is more like the syntax of the visual than that of the written language. Reading the screen requires considerable navigational effort. Today’s screens are designed for many viewing paths, allowing for diverse interests and subjectivities amongst viewers, and the reading path they choose will reflect the considerable design effort viewer has put into their reading.

      Although they both use text, websites have different affordances than books do

    9. so a pedagogy which restricts learning to one artificially segregated mode will favour some types of learners over others

      This is why you should use multimodal content to communicate so that all can have access. But you have to know the inherent differences in meaning that come along with each mode you use

    10. Designs of MeaningAvailable Designs:Found and findable resources for meaning: culture, context and purpose-specific patterns and conventions of meaning making.Designing:The act of meaning: work performed on/with Available Designs in representing the world or other’s representations of it, to oneself or others.The Redesigned:The world transformed, in the form of new Available Designs, or the meaning designer who, through the very act of Designing, has transformed themselves(learning).

      Helpful chart on ideas about design according to multiliteracies

    11. In the life of the meaning-maker, this process of transformation is the essence of learning. The act of representing to oneself the world and others’ representations of it, transforms the learner themselves.

      Transforming the Available design through designing is where the learning occurs.

    12. •Representational: What do the meanings refer to?•Social: How do the meanings connect the persons they involve?•Structural: How are the meanings organised?•Intertextual: How do the meanings fit into the larger world of meaning?•Ideological: Whose interests are the meanings skewed to serve?

      think about how modes, media, genres, site displays, discourses, etc. create meaning through lens of representational, social, structural, intertextual, and ideological

    13. including mode (such as linguistic, visual, audio, gestural, tactile and spatial), genre (the shape a text has) and discourse (the shape meaning-making takes in a social institution)

      Interesting view of discourse here

    14. Available Designs (found representational forms); the Designing one does (the work you do when you make meaning, how you appropriate and revoice and transform Available Designs); and The Redesigned (how, through the act of Designing, the world and the person are transformed).

      Three aspects of design according to Multiliteracy: available, designing one does, and the redesigned; Similar to remix? find what is usable, figure out a way to use it in order to construct meaning, and how the new product from the construction transforms either society, the world, or the available design

    15. y. Literacy teaching is not about skills and competence; it is aimed a creating a kind of person, an active designer of meaning, with a sensibility open to differences, change and innovation. The logic of Multiliteracies is one which recognises that meaning making is an active, transformative process, and a pedagogy based on that recognition is more likely to open up viable lifecourses for a world of change and diversity.

      Goals of literacy and of multiliteracies

    16. 9interest, affiliation), their identities are multilayered.

      Act differently based on our surroundings; we have multiple identities: student, teacher, child, sibling, parents, etc.

    17. Old logics of literacy and teaching are profoundly challenged by this new media environment. There are bound to fall short, not only disappointing young people whose expectations of engagement are greater, but also for failing to direct their energies to the developing the kinds of persons required for the new domains of work, citizenship and personality

      This makes me think of Boal's theatre of the oppressed and the idea of the spect-actor

    18. We are in the midst of a profound shift in the balance of agency, in which as workers, citizens and persons, we are more and more required to be users, players, creators and discerning consumers rather than the spectators, delegates, audiences or quiescent consumers of an earlier modernity.

      Different roles in today's society

    19. The Multiliteracies approach suggests a pedagogy for active citizenship, centred on learners as agents in their own knowledge processes, capable of contributing their own as well as negotiating the differences between one community and the next.

      Getting back to goal of education as democratic equality; making good citizens

    20. We would argue today that new schooling needs to promote a very different kind of citizenship—an active, bottom-up citizenship in which people can take a self-governing role in the many divergent communities of their lives—the work teams, their professions, their neighbourhoods, their ethnic associations, their environments, their voluntary organisations, their affinity groups
    21. Education is conceived more as a market than a service provided to citizens by a welfare state. In the context of the shrinking the state, its role is being reduced to the most basic of basics—literacy as phonics and numeracy as algorithmic procedures—on the assumption that the market can do the rest for those who can afford the tuition fees and find value for their money.

      Education as a private good: social mobility; running schools like businesses

    22. And even in the heart of the new economy, those who don’t manage to clone to the corporate culture and buy into its feigned egalitarianism, people who find their difference makes them an outsider, however subtlety, find their aspirations to social mobility hitting ‘glass ceilings’. In this case, a pedagogy of Multiliteracies may go one step further, to help create conditions of critical understanding of the discourses of work and power, a kind of knowing from which newer, more productive and genuinely more egalitarian working conditions might emerge

      Acknowledging the endemic failures and inequities of the "new economy" and offering a theory of multiliteracies as a way to look into the discourse that surrounds those inequities

    23. Literacy needs much more than the traditional basics of reading and writing the national language; in the new economy workplace it is a set of supple, variable, communication strategies, ever-diverging according the cultures and social languages of technologies, functional groups, types of organisation and niche clienteles.
    24. Replacing the hierarchical command structures of the old workplace are the horizontal relations of teamwork. Replacing the logic of the division of labour and deskilling is the logic of ‘multiskilling’ or creating the rounded and flexible worker whose skills repertoire is ever-broadening. Replacing mass production of uniform products is customisation of products and services for niche markets, each representing a kind of identity in the commodity space of the new capitalism. Replacing the orders of the boss are ‘flattened hierarchy’ and the supposedly self-motivating dynamics of belonging to the corporate culture, enacting its vision and personifying its mission. Replacing the formalities of the old primary discourses of command are the informalities of an apparent egalitarianism—the conversational meetings and chatty emails instead of the stiff old memos, the chummy retreats that aim to build interpersonal relationships and the training sessions that build corporate culture instead of the deference one used to show to the boss. Replacing self-interest and competition are relationships of sharing and collaboration, exemplified in open source software which is socially constructed, freely available and extremely valuable. And replacing line management are relationships of pedagogy: mentoring, training, and managing corporate knowledge in the learning organisation.

      This is why the 21st Century skills are so important on the new economy; focus now is on collaboration and communication versus individuation

    25. Multiliteracies by learning how to read and write multimodal texts which integrated the other modes with language.
    26. teracy curriculum taught to a singular standard (grammar, the literary canon, standard national forms of the language), the everyday experience of meaning making was increasingly one of negotiating discourse differences. A pedagogy of Multiliteracies would need to address this as a fundamental aspect of contemporary teaching and learning.

      Learned English (educating in schools) vs. social English (how it is used in everyday contexts

    27. The world was changing, the communications environment was changing, and it seemed to us to follow that literacy teaching and learning would to have to change, as well.

      When forms of communications change, so too do literacies. Back when stories were told orally, literacy may just have been about listening and orating. When writing was invented, this changed to reading and writing.

  2. Jul 2020
    1. Discourses, then, is that it speaks to the meanings that insiders and outsiders to particular practices can and cannot make respectively. It reminds us that texts evoke interpretation on all kinds of levels that may only partially be “tappable” or “accessible” linguistically.

      Who gets in on the Discourse? Who has access to it? How do we give access to everyone so they can all be a part of the discourse?

    2. Encoding means rendering texts in forms that allow them to be retrieved, worked with, and made available independently of the physical presence of an enunciator.

      Placing meaning into something

    3. We define literacies as “socially recognized ways of generating, communicating and negotiating meaningful content through the medium of encoded texts within contexts of participation in Discourses or as members of Discourses”

      definition of literacies

    4. The “craft” of remix entails knowing the “technical stuff” of remixing.

      Have to have the skills in order to construct the product

    5. Aspects of the “art” of remix When we talk about the “art” of remix we have generally in mind the aesthetics, appreciation, form and composition dimensions of remix practices. These are centrally concerned with the questions of what makes a remix “good” or of “high quality” and of the kinds of elements or components (including their modes) that go into effective and fertile remixes.

      This line of questioning can be used for any art form. What makes good art or quality art?

    6. hey are not remixed, may not even be viewed, read or listened to more than a few times. This may be completely immaterial to the producers, for whom the full significance of the work might consist merely in bringing a creation to fruition, as an expression of fan appreciation, as self-expression, as another “self-identity constitutive move.”

      Made from the interest of the creator, not for viewership or profit, often

    7. If we claim in this case that “family” within the conventional biological taxonomy encompasses particular types of expressive media and services, then the concepts of “genus” and “species” help us to trace fertile interbreeding at both levels

      Remix as hybridization; analogy to biology

    8. Digital Remix: The Art and Craft of Endless HybridizationColin Lankshear and Michele Knobel Keynote presented to the International Reading Association Pre-Conference Institute “Using Technology to Develop and Extend the Boundaries of Literacy”, Toronto, 13 May 2007 IntroductionBy “remix” we mean the practice of taking cultural artefacts and combining and manipulating them into a new kind of creative blend. Until recently this concept was associated almost entirely with recorded music. It referred to using audio editing techniques to produce “an alternative mix of a recorded song that differed from the original, and involved taking apart the various instruments and components that make up a recording and remixing them into something that sounds completely different” (ethnomus.ucr.edu/remix_culture/remix_history.htm). This practice of remixing became very popular during the 1990s across a range of musical genres – notably, in hip hop, house and jungle music, but also in mainstream pop, and rhythm and blues, and even in heavy metal music (ibid.). Remixes sometimes simply provided a speedier version of a song, or a leaner, more stripped back sound, or an elongated song to keep people dancing longer. Once digital sound became the norm, however, all manner of mixing and “sampling” techniques were applied using different kinds of hardware devices or software on a computer (Hawkins 2004). This remains the dominant conception of remix. Recently, however, the concept has been expanded in important and interesting ways associated with activism contesting copyright and intellectual property legislation. Beginning with music remix, digital remixing has been the object of high profile and punitive legal action based on copyright law. The legal backlash against popular practices of remix has helped fuel an organized oppositional response to what is seen as unacceptable levels of constraint against the public use of cultural material – including a fascinating moment on 2 May, 2007, centering on the dissemination of code integral to overriding digital rights management restrictions on copying certain kinds of DVDs (see, for example, http://everydayliteracies.blogspot.com/2007/05/red-vs-blue-today-surely-goes-down-as.html). The concept of remix and remixing has become a rallying point for organized response to existing copyright arrangements: namely, within arguments developed by Lawrence Lessig (2004, 2005) for the need to establish a Creative Commons (http://creativecommons.org). Lessig argues that digital remix constitutes a contemporary form of writing that is reaching the stature of a mass everyday cultural practice. Lawrence Lessig on digital remix as writingLessig (2005) claims that at a very general level all of culture can be understood in terms of remix, where someone creates a cultural product by mixing meaningful elements together (e.g., ideas from different people with ideas of one’s own), and then someone else comes along and remixes this cultural artefact with others to create yet another artefact.

      In a way you can say the ancient Roman civilization was a remix of Greek civilization; took ideas and built upon them

    1. Expeditionary Project: Give Me Shelter

      Learning expedition; authentic learning, project based learning Policy issues Can lose how human lives are influenced by policies that were in place Really get to know about the issues Students feel connected to the project, to their product, and their learning

    1. Creativity is a remix | Kirby Ferguson

      Remix: new media from old media Remix: copy, transform, and combine--basic elements of creativity? Remix is creativity? Build on the work of others Property that we are all building; creation can only come from what has already been created Patents are in small detail Can people own ideas? Good artists copy. Great artists steal. Loss aversion; don't like it when people copy from us Creativity comes from without, not from within?

    1. Learning STEM Skills by Designing Video Games (Is School Enough? Series)

      Express creativity through making games online; stories of games Express themselves through creating games; but explain how mechanics can be used in other areas as well Problem solving--what can I do, and does that provide clues for the harder things that I don't know how to do yet Students like and want to be challenged, just challenges that are interesting to them Gamestar Mechanic Constructive criticism better than hurtful criticisms Teachers don't necessarily have the time to give every student the detailed feedback they want to, but opening it up to a broader community can help; need to teach others how to give constructive feedback though

    1. ultural Anthropologist Mimi Ito on Connected Learning, Children, and Digital Media

      Entertainment and play in schools REmixing videos, podcasts, fanfiction Diversity in what kids were doing and learning online Friendship driven participation--hanging out with friends online Learn social behavior and waht it means to grow up in digital world "messing around"/"geeking out" forms of participation; smaller cut of kids who do this Adults not welcome in friendship space Instead, help students recognize the privacy and security issues How do we support student engagement in messing around/geeking out space? Potential here for civic and political action Work against entertainment media as a hindrance or lessening of education and learning, use it as a tool to help with learning Give kids access to set of standards for what they need to participate in contemp. society

    1. Henry Jenkins on Participatory Culture (Big Thinkers Series)

      Things students care about happen after students live school Communities produce media to share amongst themselves Media is produced to share it with each other, not for money No expert, learn from each other Social modes of production Participating in culture to social/political/civics, what is that transition like? "messing around" technology; "geek out for democracy" Harry Potter Alliance (using participatory culture for civic/political justice/good) Can we tap into these fandoms and participatory culture? "Create feral children of the Internet" Use what they are interested in to help lend a supporting hand to them--connected learning Making changes in Wikipedia and showing evidence and making arguments against the review board of Wikipedia

    1. order of the image text is (relatively) open.

      The reader of the image does not necessarily have a particular order they have to read in unlike how our social semiotics (which are cultural by nature) of written text dictate what order we read in (left to right and up to down in an American culture)

    2. ll these are social meanings, specific to a particular culture. At the same time they are chosen, put together for their potential to mean, by the deliberate action of the designer. The sign – a complex message of words, of letters, of color and font-types with all their cultural resonances – reflects the interests of its designer as much as the designer’s imagined sense of those who will see and read the sign. The sign is based on a specific rhe-torical purpose, an intent to persuade with all means pos-sible those who pass by and notice it.

      Signs serve a rhetorical purpose: used to persuade its meaning to passersby; signs are by nature dependent on culture, and show as much the interest of the designer as the designer wishes others get meaning from their interest

    3. Each mode forces me into making certain kinds of commitments about meaning

      epistemological commitment comes with each mode

    4. he perspective of (Social) Semiotics, and more specifi-cally, from the perspective of multimodality, which deals with all the means we have for making meanings – the modes of representation – and considers their specific way of configuring the world.

      Modes and medium help to make meaning



    1. Creation can be viewed simply as the act of producing, or causing to exist.  Construction is the building or assembling of an infrastructure.
    2. Working online is a fluid experience which calls for flexible learners

      and flexible teachers!

    1. “co - investigators”
    2. (a) modeling an expert’s  performance; (b) understanding of the internal/external processes; (c) encouraging students to think and work like experts; (d) application of knowledge in different contexts; and (e) demonstrating how to cope with difficulties

      Sub processes of the modeling/coaching/fading process of cognitive apprenticeship

    3. (a) modeling, (b) coaching, (c) scaffolding, and (d) empowering students to acquire a role as a self-motivated learner

      Creating a self-motivated learner; autonomous learning

    4. modeling, coaching and fading steps

      Steps of cognitive apprenticeship

    5. As a result, teaching and learning using elements of OCC affords opportunities for students to not only participate in global conversations, but also in some cases empower them for their future as literate individuals

      OCC as a tool for empowering students

    6. includes the enculturation of students into authentic practices through activity and social interaction in an online environment (Hennessey, 1993) in an attempt to embed learning in activity

      Project based learning and authentic learning and assessment

    7. There are usually four dimensions considered in cognitive apprenticeship (e.g., content, methods, sequence, sociology) when embedding learning in activity using a classroom’s social and physical contexts

      Four dimensions of cognitive apprenticeship: content, methods, sequence, sociology; cognitive apprenticeship also involves scaffolding learning

    8. By encouraging students to construct online content as opposed to the traditional writing  process, they are enabled to “communicate with one another using the codes and conventions of society”

      "reading the word and reading the world"

    9. The work involved in OCC includes expository, persuasive, or argumentative texts formed by students while they are engaged in the online inquiry process.

      Different types of writing

    10. In effect, work such as this helps build aspects of critical engagement between students and text to promote social  justice through process and product.

      Thinking critically about how students can learn to read the world in order to promote social justice

    11. d esign combines the “process and product”

      Idea of combining process and product

    12. Multimodal design identifies the interchange between linguistic, visual, audio, gestural, spatial, and multimodal elements (New London Group, 2000; Kress & van Leeuwen, 2001; Jewitt, 2008). Information created using elements of multimodal design must consider the mode and media chosen by the student as a crucial concept in constructing meaning (Doneman, 1997). Research has found that “the ways in which something is represented shape both what   is to be learned, that is, the curriculum content, and how  it is to be learned ”

      What is going to be learned and how it is going to be learned depend on modes and media

    13. task or purpose, and possibly share with others to obtain another perspective on their work.

      Not only thinking about what they want to say but thinking about and reviewing if how they've chosen to present it actually matches and infuses the meaning they are wanting to construct

    14. Online reading and writing has been described as a more social and interactive act than traditional communication because it focuses on both the process and the purpose of the participation of many, rather than the private act of an individual

      When you read and write online, you are becoming a part of an active and global community rather than just reading/writing your own material

    15. the key difference between the traditional writing process and OCC is that teachers and students need to consider other elements that are particular to working with online informational text (e.g., semiotics, visual literacy, multimodal design)

      It's not just about text anymore. The site of display and medium now have different affordances such as use of multiple modes (can be multimodal now)

    16. OCC is defined as the skills, strategies and dispositions necessary as students construct, redesign, or reinvent online texts by actively encoding and decoding meaning through the use of digital texts and tools.

      Tweetable summary that was used in the digging deeper lecture

    1. 186Written Communicationnotion of social relations includes but is not limited to interactivity, whichusually refers to the learner’s engagement with and transformation ortransduction of the text. In recontextualization there is inevitably a socialrepositioning: A certain pedagogy emerges as the consequence of there-contextualization.

      The social relations, for instance of director and actor are changed when recontextualized from Broadway productions to classroom scenes. The mode and medium may be the same (action and speech/theatre) but the site of display has been changed

    2. Features of the social environment shape rhetorical/representational decisions. What may be most significant in the originatingenvironment may not be so in the environment of recontextualization.

      What needs to come to the front/move to the back may be different when recontextualized

    3. What epistemological frame isbest for this audience and this purpose, and in what order is it best to presentthe curricular entities to learners?
    4. We see four rhetorical/semiotic principles operating in the process ofrecontextualisation: selection, arrangement, foregrounding and socialrepositioning.

      Principles of recontextualization

    5. econtextualization is, literally, moving meaning materialfrom onecontext with its social organization of participants and its modal ensemblesto another, with its different social organization and modal ensembles.
    6. hatever the semiotic—modal and/or medial—change, it entails achange of social context. Of course changes in social context themselvesbring with them changes in the semiotic materialization of meaning.

      How is text perceived as a Tweet versus as a post on Facebook? How is moving image and speech perceived differently on YouTube versus Cable Network versus streaming sites?

    7. Every mode imposes/demandssuch commitments as a matter of course, though each such set of commit-ments is different. That has to be part of the designer’s consideration.

      Thinking of adaptations or transductions of text to moving pictures, not just do you have to think of how close Bill and Sam are to one another or on which side they are on, you now also have an epistemological commitment of their movement, how do these two characters interact in time and space? Are they cordial in their gestures? Are they fidgety? Are they still? Do they have different movement patterns?

    8. Modes have different materiality and it, shaped by the histories of culturalwork, has produced the specific affordances of a mode. Given that differencein material and cultural work, there can never be a perfect translation fromone mode to another: Image does not have “word,” just as writing does nothave “depiction”; forms of arrangement (i.e., syntax) differ in modes that aretemporally or spatially instantiated. Transduction inevitably brings profoundchanges in the move from one mode to the other. In such contexts we can askabout gains and losses in the process of modal change.

      Because of the different materialities of modes and the cultural, social, and historical nuances that come with modes, when switching between modes, we do not have a perfect translation, instead we have what the authors call a transduction. You do not get the same affordances when switching from text to image or from moving image to text.

    9. Design is the practice where modes, media, frames, and sites of display onthe one hand, and rhetorical purposes, the designer’s interests, and the char-acteristics of the audience on the other are brought into coherence with eachother. From the designer’s perspective, design is the (intermediary) processof giving shape to the interests, purposes, and intentions of the rhetor inrelation to the semiotic resources available for realizing/materializing thesepurposes as apt material, complex signs, texts for the assumed characteris-tics of a specific audience.

      Design combines all of the factors that go into the meaning that is wanting to be constructed

    10. Such changes in media are always subjectto social contestation. As one current example, walls and other surfaces(e.g., [underground] trains) are transformed into medium by graffiti artists.
    11. Mode and modal uses have to be considered together with the mediumof distribution involved in communication. Medium has a material and asocial aspect. Materially, medium is the substance in and through whichmeaning is instantiated/realized and through which meaning becomesavailable to others (cf. “oil on canvas”). From that perspective, print (aspaper-and-print) is medium; by extension, the book is medium, if differ-ently, the screen another; and the “speaker-as-body-and-voice” yet another.

      Mode is part of the sign (text, image, video, audio, etc.) medium is the way it is distributed (book, oil on canvas, Twitter, Facebook, Instagram, etc.)

    12. That is, modes have different affordances—potentials and constraints for making meaning.

      The choice of mode can open up new possibilities, but it can also limit what can be done.

    13. A modeis a socially and culturally shaped resource for making meaning.Image, writing, layout, speech,moving image are examples of modes, allused in learning resources.

      Modes of expression, or of meaning making.

    14. The producer’s aswell as the audience’s interests are shaped by the social, cultural, economic,political, and technological environments in which signs are made; the designis the result of the interaction between all of these. At the same time signmakers have to be aware of the media of distribution for their signs and thatawareness is factored into the making of the sign

      All of the impacts and factors of the creation of the sign

    15. Signs areelements in which meaning and form have been brought together in a rela-tion motivated by the interest of the sign maker.

      The content of what you want to get across (the message) and the medium that you use are combined in a way that is of interest to the meaning maker

    16. Media—the means for the distribution of mes-sages—also have affordances, so that changes in media have social and epis-temological effects. We include these in our discussion and in the theoreticalframework we develop here, even though they are outside our focus.

      The medium is the message

    17. If, going one step further, we comparea contemporary textbook with “pages” on the Web dealing with the “same”issues, we see that modes of representation other than image and writing—moving image and speech for instance—have found their way into learningresources, with significant effect.

      Even digital textbooks have interactive abilities. You can click on links, watch videos, etc. all from the "page"

    1. Middle School Project: Public Art

      STEAM!!!! Google Maps walking tour, kinetic sculpture to install Teacher Planning Session, connecting learning

      Existing art that students are studying in history Click on art and information they have found about it comes up Applies to real-world--their community Writing proposals for installation of their works of public art

      No "paint by numbers"

      Let students explore the process! The products will be so creative--things you have not even thought about

      "Science fair" or "expo" of ideas

      Students taking ownership of ideas

    1. Keeping Assessment Relevant and "Authentic"

      Never answer questions, why are we learning this?

      Real world applications built into learning targets

      Grades based on performance versus memorization of formulas and facts

      Authentic Assessment: measures student learning according to the application of skills during the performance of a real-world task

      Reenacting historical acts

      Let students demonstrate knowledge by doing

      1. Challenging
      2. Results in a performance or product
      3. Encourages real-world applications
      4. Self-evaluation
      5. Collaborate, discuss, and receive feedback on work


      I hear and I forget, I see and I remember, I do and I understand

    2. Keeping Assessment Relevant and "Authentic"

      Authentic Assessment: designed to hit skills and needs of population Why did we get to the right answer; what was the process? What were the steps? What are common mistakes? Take mistake and throw it back into class a few days later Give incorrect answers and have them break down the thought process Connect to real life; hands-on, experiential learning Side coaching as assessment Anticipate problems Make tasks authentic to real world tasks Process v. product Use assessment as a teaching tool!

    1. Beware online "filter bubbles"

      Relevance of right in front of you Internet means different things to different people Algorithms edit the web based on what you have looked at in the past "There is no standard Google anymore" Personalizing news and search results to each user "The Internet is showing us what it thinks we need to see, not necessarily what we need to see" "Filter Bubble"--information you live in online, you don't decide what gets in, but you definitely don't see what gets left out Mainly looking at what you click on first Information junk food instead of information balanced diet Gatekeepers found a new way to gate keep through algorithms What does this do to democracy? What sort of internet/web ethics need to be developed to get us through to the next thing? Algorithms need to be transparent and to give us some control; need a sort of civic responsibility Internet needs to be a tool of democracy and access for ALL

    1. Online Reading Comprehension

      Sharing what they've found with one another Students getting really excited when they've found something, want to show teacher Once students get one part, challenge them to find something new Evaluate the information; what features make it good? What is definition of best? Synthesize what you are finding; bring in all the information from different sources Multimodal ways of reading

    2. Online Reading Comprehension

      "I found it!" excitement

      Cup System--different colors mean different kinds of help are needed

    3. Online Reading Comprehension

      Put focus on learning coming from partners

    1. he most rewarding aspect of Phase 3 was the sense of agency that students expressed.

      Students should be agents of their own learning! They should feel like they are in control and that it is theirs

    2. One of the most successful methods involved taking aside students considered to be "struggling" and teaching them a strategy for evaluating a Web site or a new tool. These students could then go back to their group and teach the other members what they knew.

      Teaching "struggling" students first so that they can then go and teach the others in their group

    3. Phase 2 is a collaborative phase during which both teachers and students conduct think-aloud demonstrations and minilessons. Teacher modeling in the beginning of the phase gives way to student modeling in the latter half.

      Think alouds that start with the teacher modeling and transition to students leading the think alouds or mini lessons

    4. Phase 1: The Basics

      Teaching basic computer skills; word processing; keyword identification, searching skills

    5. the teacher first instructs students in a whole-class setting with each person constructing his or her own text while building the online reading comprehension strategies of questioning, locating, evaluating, synthesizing, and communicating.

      Internet Reciprocal Teaching, teach students individually how to read online, then allow students to work in groups so that the students can teach one another; teach those who may struggle with offline reading first

    6. Reciprocal teaching revolves around four global comprehension strategies: predicting, questioning, clarifying, and summarizing. The teacher explains these strategies to small groups using a shared text, first modeling their use, and then asking students to lead the groups.

      Reciprocal teaching process

    7. By creating a curriculum that allows for problem-based inquiry learning, high-level discussion, and collaboration. One approach, Internet reciprocal teaching, involves problem-based tasks in which readers create their own text. This provides students a path for navigating the Cs of change.

      Problem-based learning to help teach 5 C's (creativity, communication, collaboration, critical thinking, and comprehension

    1. Develop a question. Search for information. Evaluate the information. Compose an answer to your question. Share the answer with others.

      Phases of Internet Inquiry, short and to the point

    1. like giving students roles to play:

      I like this role-playing idea. Have the students take on the responsibility of being the expert

    1. This process involves the following five phases:

      collaboratively identify interest and a question search and sift through information critically evaluate information (credibility and usefulness) Synthesize what they have learned from multimodal sources Online content construction

    2. introduction, task, process, evaluation, and conclusion

      Parts of a WebQuest; think about how to apply this in lesson planning

    1. Another difference from earlier models of print comprehension is the inclusion of communication within online reading comprehension. Online reading and writing are so closely connected that it is not possible to separate them; we read online as authors and we write online as readers

      Not as binary as the Web Literacy 2.0 Map makes it out to be, there are some blurred lines in there

    2. It takes an open-source approach to theory development, at the highest level, inviting everyone who studies the Internet’s impact on our literacy lives to contribute to theory development and to benefit from others’ contributions.

      All those who have access to it at least

    3. Framing Internet use as a literacy issue will also make it more likely to be embraced by schools, an institution resistant to adopting new technologies

      If this is included with literacy, schools and districts may think more about the new ways that our students are constructing learning

    4. In-school and out-of-school relationships need to be considered transactionally if we expect new technologies to be adopted in school settings.

      These authors are suggesting that Greenhow, Robelia, and Hughes look at how students' use of tech comes into the school and not how the school can influence students' use of tech?

    5. these elements permit individuals to construct new information, new knowledge, and even newer technologies. As a result, the Internet is in a continuous state of becoming, regularly transforming each one of us as we, in turn, transform it.

      The Internet is leading to daily changes of new literacies. Technologies and the skills and literacies that are needed to use those technologies are constantly changing

    6. They suggest this approach is likely to lead to greater equity, understanding, and acceptance of continuously new technologies within educational systems.

      new literacies for all

    1.  Teaching, Learning, and Sharing Openly Online 

      From embedded document: Importance of digital literacy grows for ALL learners

      OER are mainly under creative common licenses and are supposed to be reused or repurposed; teacher providing lesson plans/unit plans and other teachers can see these, take ideas, and make them their own

      Leads to a sort of collaborative learning experience for teachers, changing details to make the product the best it can be, assessing authentic learning, teaching, and assessment

    1. If you want to teach source evaluation skills, have small groups conduct research to answer a three-part problem such as this:1. How high is Mt. Fuji in feet?2. Find a different answer to this same question.3. Which answer do you trust and why do you trust it?

      Good for future lessons/activities

    2. “Healthy Skeptics”

      Love this idea of "healthy skeptics"!!!

    3. Play “One Click”

      This is a fun game!

    4. The ability to read and locate online information is a gate-keeping skill.

      I haven't ever thought about this, but people who do not have this ability are kept out of an abundance of information

    5. This is a powerful principle that positions weaker readers as experts.

      This way their self-esteem doesn't get lowered; shows how there are multiple ways of achieving

    6. Many students do not read search engine results; they simply click and look their way down each list of search results, reviewing each web page, often skipping right past a use-ful resource (Leu, Forzani, & Kennedy, 2013).

      Thinking about how Google uses Ads and Sponsors to put their websites up top, also how most people never go past the second page of search engine results

    7. . Because of this, many will ignore instruction in online reading, thinking that the CCSS only references traditional, offline read-ing comprehension. Many may also fail to integrate reading and writing instruction, an important part of any literacy program
    8. First, it appears that online reading comprehension typically takes place within a problem- solving task

      Interesting assertion...

    9. At least five processing practices occur during online research and comprehension, each requiring additional new skills and strategies when they take place online:

      5 Practices are:

      1. Identify important questions
      2. Locating information
      3. Evaluating information critically
      4. Synthesizing information
      5. Reading and writing to communicate
    10. Proficiency in these continuously new, online literacies will define our students’ success in both school and life.

      This reminds me of the video from Module 2 stating how we have to instill a mindset of change and growth into students. Just like they will change their work in order to make it the best it can be, so too can our technologies and digital media change

    1. “tweet seats”

      The idea of having a seat for cell phone use?

    2. Seen in this context, on-stage special effects seem lame.

      The realism and spectacles of movies cannot be matched with the limitations of live theatre.

    3. Instead of viewing plays as individual texts to be studied and examined, theatre knowledge building invites teachers and students to examine the work together, to question why the play was written, to understand the relationship between form and content, to see how the play fits within theatre history and the work of the playwright, and to ask how the play has been performed and what challenges it presents to other theatre workers.

      Make it an open-ended question that leads to conversation between students

    4. he students described themselves as living digitally saturated lives in which multi-tasking is the norm.

      I am guilty of this. I find it hard to just sit and do one thing like watch Netflix, instead I'm watching Netflix while texting or surfing the web

    5. Productions from cutting edge companies such as the UK’s Blast Theory fuse theatre with video games, or movies, or else turn an entire city into a kind of stage in which performers and audience members meet in person or virtually

      Interesting form of theatre, especially now in a time where people cannot gather in large groups, can space out through a city

    6. Others interpret the influence of new technology in theatre as a creative response to the realities of our digital world, with multimedia theatre reflecting back to the audience in provocative ways the hybrid state of human beings and technology

      What are some examples of this?

    7. two-way cultural conversations within a “networked public”

      Two-way communications, not just one way

    8. The paper proposes that, by focusing upon collaborative, inquiry-based approaches supported by Web 2.0 technology, educators can create authentic, theatre knowledge-building communities, causing students to view themselves as participants in the culture of live theatre while learning valuable 21st century skills.

      A way to keep theatre alive in the new age?

    1. As forms of entertainment continue to evolve, the want for live theater has been replaced with advanced gaming systems, movies and television series.

      One reason younger people are not going to the theatre.

    1. Engaging students in a three-month long project where they create their own short plays with the guidance of a workingplaywright, this festival not only allows students from St. Sylvester to explore playwriting, but to do so in collaboration with another class at a nearby Member School, St. Henry.

      Way to collaborate with places outside of the school

    2. Research clearly and consistently shows that when students are engaged in their learning, they are more likely to remember what they learn and will work to continue to learn independently (Bruner, 1961), moving “toward the always shifting end/goal of learning more” (Dewey, 1938, p. 34)

      Goal should be to learn more! Do this by engaging student interest

    3. For example, in November 2014, the Grade 3/4 class at at St. Sylvester participated in a learning project devoted to set and costume design in connection with the theatre’s production of James and the Giant Peach

      Teaching design to students, can this be a collaborative project with people from multiple locations?

    4. Q&As to delving into in-depth research projects about the process of play creation, production and design

      This could be a fun and enriching experience to do with theatre students

    1. Sometimes all we want is the plain cup of coffee, and sometimes we want that Starbucks-only pumpkin spice latte.

      Important to note, not everything needs to be redefined, that's a lot of pressure and a lot of work Need to also gear this towards how each students learns individually

    2. Modification involves changing the task, and personalizing the project.

      Instead of just substituting a handwritten essay for a typed one on Google Docs, students are able to talk to each other about the essay and discuss improvements/advancements to the essay. Is this just a substitution for peer reviewed handwritten work though?

    3. At the substitution level, you are substituting a cup of coffee that we could make at home or school with a cup of coffee from Starbucks. It’s still coffee: there’s no real change.

      Love this example with one of my favorite things: coffee! Having these examples are very helpful to me, this article not only provides examples, though, it explains why they are examples of each

    4. The SAMR model allows you the opportunity to evaluate why you are using a specific technology, design tasks that enable higher-order thinking skills, and engage students in rich learning experiences.

      Clearly stated purpose of the SAMR model!

    5. This was extremely overwhelming, difficult to manage, and eventually, a turn-off for teachers.

      Better to have a streamlined system rather than overwhelm with an abundance of apps?

    6. 4C’s

      critical thinking, collaboration, communication, creativity

    1. are grouped intentionally to provide a mix of skill levels,

      Zone of Proximal Development -Vygotsky; by mixing skill levels, students at a lower skill will learn from those at a higher skill; those at a higher skill will better understand the process/concept by helping teach those at lower skills

    2. Students quickly realize that they are able to solve problems as a group that they would not be able to solve as individuals.

      In the career world, you will most likely have a community of people you can bounce ideas off of in order to come up with solutions to problems, so why not have this model in schools where we are teaching students skills that can be used in their careers?

    3. teachers must be willing to “cede the floor” to the students.

      Allow students to drive the car, if you will. Be a passenger to offers guidance every once in a while

    1. Encouraging students to reach out to one another to solve problems not only builds collaboration skills but leads to deeper learning and understanding.

      Students can teach one another--assessment of understanding Asking each other questions before asking the teacher

      Group work empowers a student's cultivation of resilience

      Creates habits of mind

      Going over homework in groups, if no resolution to a problem, talk about it as a class, asking groupmates to help (and they are helpful--how do you inspire helpful intentions?)

      Classwork harder than homework--need to talk to one another to solve problems

      Talk about problems before taking pencil to paper

      Can you see one another; check ego at door; be willing to take risks; throw out ideas even if not fully formed, others can add to it

      Different roles to fill: discussion: scribe, mapper, moderator

      How did you do? Encourage quieter students to engage, have peers help them out somehow

      Respect individual, celebrate small victories

    1. Critical Thinking:

      Useful resource to have; skills that make up critical thinking along with subskills

    2. Defining Formative Assessment

      Yes! Formative assessment should not just be for grade's sake, but as an actual way to gauge student understanding and then to assess the next steps to take to get students to where you want them to be

    3. The SAMR Ladder:Questions and Transitions

      Helpful resource here

    1. but the real learning gains result from engaging students in learning experiences that could not be accomplished without technology.

      This seems a little biased to me. What real learning are we talking about here? Real learning as it comes to technology, yes I agree. Real learning in general? Not sure if I agree there or not.

    1. The TPACK framework suggests that content, pedagogy, technology, and teaching/learning contexts have roles to play individually and together. Teaching successfully with technology requires continually creating, maintaining, and re-establishing a dynamic equilibrium among all components.

      Not only do we need to look at each part in isolation, but we also need to look at how all three live in constant tension or in equilibrium. What content needs to be taught? What technologies can aid that? How do I teach this content using this technology? What limitations does it present? What opportunities?

    2. Teachers need to reject functional fixedness (Duncker, 1945) and develop skills to look beyond most common uses for technologies, reconfiguring them for customized pedagogical purposes.

      I like the phrase functional fixedness. Play with something so that you can discover multiple ways of employing it

    3. An understanding of the affordances of technology and how they can be leveraged differently according to changes in context and purposes is an important part of understanding TPK.

      There is not just one way to use something.

    4. Teachers need to understand which specific technologies are best suited for addressing subject-matter learning in their domains and how the content dictates or perhaps even changes the technology—or vice versa.

      What technologies can influence theatre? Which can constrain theatre? And vice versa

    5. Fluency of Information Technology (FITness), as proposed by the Committee of Information Technology Literacy of the National Research Council (NRC, 1999)

      Look this up.

    6. this transformation occurs as the teacher interprets the subject matter, finds multiple ways to represent it, and adapts and tailors the instructional materials to alternative conceptions and students’ prior knowledge

      We have to teach content in different ways depending on the content and the students

    7. Digital technologies—such as computers, handheld devices, and software applications—by contrast, are protean (usable in many different ways; Papert, 1980); unstable (rapidly changing); and opaque (the inner workings are hidden from users; Turkle, 1995)

      Why it may be a little intimidating to use technology especially in the classroom, not sure how it works/how to keep users safe (especially if those users are children)

    1. The commission has argued for school reforms that include a European-style system of career-oriented tracks, which ends the public commitment to schooling at Grade 10 and then tracks students into either college-level classes or vocational education.

      If this happens, do the liberal arts go by the way-side? I think that is unfortunate as I believe liberal arts education allows people to explore their interests but also allows them to see how different fields interact with one another. Nothing survives in isolation.

    2. A strong current in the workforce readiness view holds that “creative work” is where the security will be, and that the current education system must produce students who are capable of the critical and creative thinking skills

      How do we teach critical and creative thinking skills if this is the wave of future job creation?

    3. raditional pathways through schooling toward stable careers are an option for fewer young people; in their current form, schools can only deliver opportunity to a shrinking proportion of youth.

      New jobs are being created; we may be preparing students for jobs that don't even exist yet

    4. In the past two decades, earnings have dropped for those without high school degrees, while dropout rates have continued to remain high among vulnerable populations. At the same time, privileged families are turning to costly private schools and enrichment activities for an educa-tional edge, preparing their children for a competitive and volatile market for profes-sional and fulfilling jobs.

      Education as a private good; social mobility rather than democratic equality or social efficiency

    5. Expanding diversity and building capacity

      What about youth in reduced economic circumstances? What if they do not have access to this new media? Is this bridging a gap, or just creating a new one?

    6. opportunities for mastery of specialist language and practices.

      Opportunities for mastery in a safe, non-graded space

    7. xperiences invite participation and provide many different ways for individuals and groups to contribute.

      Participatory: web literacy

    8. We also see adolescence and early adulthood as periods when young people establish an orientation to schooling and learning that can carry into adulthood, and begin to make decisions that will lead them to certain job and career opportunities.

      Allowing students to explore there own interests especially in middle and high school can help support their identity as a learner

    9. Digital and net-worked media offer new ways of expanding the reach and accessibility of connected learning so it is not just privileged youth who have these opportunities.

      So many online communities to choose from, but as of yet do not discuss the safety/privacy/security of connecting with these online communities

    10. learning that is socially embedded, interest-driven, and oriented toward educational, economic, or political opportunity.

      Definition of connected learning

    11. Clarissa

      Clarissa's interest in fan fiction led to her joining a supportive online community where they participated in editing and revising (changing to make better versions of writers) and gave her the opportunity to get accepted to Chapman and Emerson

    12. evidenc

      What is the evidence of this "most resilient, adaptive, and effective learning?

    13. socially embedded, interest-driven, and oriented toward educational, economic, or political opportunity

      interest, supportive relationships, and opportunity

    1. SAMR in 120 Seconds

      Substitution: new tech replaces old tech Augmentation: sharing Google doc and saving to cloud; increased functionality

      Modification: tech redesigns part of task; collaborate on Google doc Redefinition: design and create new tasks; connecting to classroom across world through Google Doc, talking about differences in history from different parts of world, using voice recording to discuss differences they noticed

    1. TPACK Example

      Video game programming in elementary school? amazing Combing pedagogy, content, and technology EdModo Making a movie as a project Content Area Lesson, research problem on sites provided Technology Knowledge

    1. The surprising truth about what motivates us

      MIT Study Mechanical skills: larger reward leads to better performance Cognitive skills: larger reward leads to poorer performance

      Pay people enough to not think about money, it is no longer a factor

      Autonomy/Mastery/Self-Actualization If want engagement, self-direction is better Atlassian, work on whatever you want for 24 hours Allow learners to guide their own learning

      Mastery--we want to get better at stuff because it's satisfying; people have jobs, and for free people do lots of hard work; challenge, mastery and making a contribution: purpose motive

      We are purpose motivated and want to be self-directed

    1. Motivating Learners

      Trajectory vs. fixed point Idea of play, how do we play with current knowledge/tech? Learners look at how can change what they are doing in order to make it better, constantly looking at change and able to embrace change Find communities of doers in what you are interested in Teach how to join Tinkering brings thought and action together

    1. Will Richardson

      Life prep, not test prep! Play to students' interests and allow their curiosity and questions guide their learning

    1. Learners need to feel a sense of belonging and be able to make meaningful contributions to a community in order to experience connected learning.

      Maslow's Hierarchy of Needs tells us that students need to have a sense of belonging before they are able to grow their self-esteem/mastery.

    2. They do this by being sponsors of what youth are genuinely interested in — recognizing diverse interests and providing mentorship, space, and other resources.

      Find what students are interested in, give them the resources to find supportive groups and opportunities to explore those interests!

    3. Learners need support from peers and mentors to persist through setbacks and challenges.

      One main takeaway from my Grad School experience is that you need a community of people who are on your side! Grad school can be very isolating and frustrating and can lead to increased mental health problems, but knowing you have people cheering you on can help a lot!

    4. Learning is irresistible and life-changing when it connects personal interests to meaningful relationships and real-world opportunity

      Yes! A goal of mine as an educator is to help students become life long learners. I believe that by teaching to students' interests, we can help develop that love! I like the ideas about relationships as support and opportunities that come as a result.

    1. We need to teach youth to fish for mentors and we need to stock the pond with more mentors.

      I like this analogy

    2. expenditures for youth in higher-income households has increased 700% more than that of lower-income households.

      Makes me think about how internships (especially unpaid internships) really only benefit those who are well-off enough to be able to take a job without pay. People who need the money to survive don't have time to work only to "get paid in experience". Because of this, when on the job search, it may be harder to get jobs in their field.

    3. The presence of just one “stable, anchoring relationship” can be a gateway to crucial forms of support for academic and career success.

      Teachers as mentors

    4. and mentoring has become a critical ingredient for such success

      Mentoring is a critical ingredient for success! How can we expand mentorship to those students who may not get what the article calls "natural mentoring"?

    1. “value intervention,” because it helps students see the value of what they’re learning

      Rather than stress the importance, allow students to reflect on why it is important to them, could help bring about interest

    2. The intervention actually undermined interest in math among students who did not consider themselves skilled in the subject, making such students feel threatened and leading them to withdraw.

      By stressing the utility of a subject that some students struggle in suggests they will be doomed in their future. Two options: take on the struggle or give up. Giving up is easier.

    3. is to make sure that students have sufficient background knowledge to stimulate interest and avoid confusion.

      Scaffolding teaching? Providing those hints that are mentioned earlier in the article?

    4. The curious individual is motivated to obtain the missing information to reduce or eliminate the feeling of deprivation.”

      Curiosity killed the deprivation

    5. Silvia suggests that one reason that growing knowledge leads to growing interest is that new information increases the likelihood of conflict—of coming across a fact or idea that doesn’t fit with what we know already. We feel motivated to resolve this conflict

      It always feels nice when things get resolved!

    6. novel, complex, and comprehensible.

      Good advice

    7. interest is a more powerful predictor of future choices than prior achievement or demographic variables.”

      Sometimes in order to achieve something the task seems mindless and boring. This could dissuade from taking on similar tasks.

    8. Parents and educators can do this by exposing students to a wide variety of topics. It is true that different people find different things interesting—one reason to provide learners with a range of subject matter, in the hope that something will resonate.

      Thinking about working on projects in class, is there a way to make the project open enough that students can choose how they want to go about it? Offering options/choices of research topics / ways of presenting research could help students become more active participants in research and learning!

    9. that interest can help us think more clearly, understand more deeply, and remember more accurately

      Really interesting finding! It makes sense from personal experience

    10. In a world too full of information, interests usefully narrow our choices: they lead us to pay attention to this and not to that.

      Great idea about how interest narrows down our focus, especially in a world where we have an overabundant amount of information at our fingertips.

    1. “always connected” individuals

      This is a good point, need to think about how citizenry expands to online communities if this generation and future generations will be always connected to a global web community

    2. Simply stated, students are often not provided with opportunities in school to practice the web literacies necessary to read, write, and participate on the web.

      I remember having to take a computer science course in high school/middle school, but it mainly focused on developing digital skills instead of digital literacies

    1. Labaree argues that American education has had three goals that have shifted in importance over time: democratic equality, social efficiency, and social mobility. Democratic equality supports the idea that education is a public good, necessary for creating informed citizens.

      Raising informed citizens as a goal of education

    1. 1. The first weeks of school should be devoted to community building and digital competency.

      This article gives a good insight into how we can use tech in the current circumstances we are in

    1. 1703 North Beauregard Street | Alexandria, VA 22311–1714 USA | 1-703-578-9600 or 1-800-933-2723 | WWW.ASCD.ORGPage 13APPENDIX BLEARNING GOALS AND TEACHING ROLES

      Helpful handout!

    2. code the various events in their learning plan with the letters T, M, and A to ensure that all three goals are addressed in instruction

      Helpful, practical advice

    3. In the UbD framework, we have identified six facets of understanding for assessment purposes

      6 Facets of Understanding: Explain, interpret, apply, perspective, empathy, self-knowledge

    4. Doing so invariably sharpens and focuses teaching.

      If we know what we want to see out of students during an assessment, we will know what and how to teach the students!

    5. The relationship between the arts and culture is mutually dependent; culture affects the arts, and the arts reflect and preserve culture.

      Great EU for theatre!

    6. the Stage 1 con-tent and understanding must be what is assessed in Stage 2 and taught in Stage 3.

      Backwards design is a great way to ensure what you want students to walk away with is what you are actually teaching them!

    7. This process helps avoid the common problems of treating the textbook as the curriculum rather than a resource, and activity-oriented teaching in which no clear priorities and purposes are apparent.

      Teach with a purpose, be intentional in teaching! Know why you are making students do things

  3. www.literacyworldwide.org www.literacyworldwide.org
    1. Civic: Develops and helps acquire the concepts of democracy and global citizenship as individuals become participants in society

      This idea of a "good citizen of the web"

    2. eight essential elements of digital literacy that lead to positive action:

      Great, quick overview of the 8 essential elements of digital literacy as given by Doug Belshaw

    1. Identifying rights retained and removed through user agreements.

      This point is important to me because I feel like to be a "good citizen" in an offline space you should be aware of what rights you have, so it translates well to being a "good citizen of the web".

    2. sharing data online.

      Would sharing data online, either knowingly or unknowingly, also be considered as "Writing" or is "Writing" something that is a conscious and deliberate activity? Aren't you also developing new content as you participate in online spaces?