pplication of knowledge and understandings to the complex diversity of real world situations and testing their validity.

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

‘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

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).

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

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’

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.

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.

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

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).

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.

•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?

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)

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).

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.

9interest, affiliation), their identities are multilayered.

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

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.

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.

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

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.

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

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.

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.

Multiliteracies by learning how to read and write multimodal texts which integrated the other modes with language.

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.

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.

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.

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.

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”

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

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.

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.”

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

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.

Expeditionary Project: Give Me Shelter

Creativity is a remix | Kirby Ferguson

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

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

Henry Jenkins on Participatory Culture (Big Thinkers Series)

order of the image text is (relatively) open.

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.

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

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.

Creation can be viewed simply as the act of producing, or causing to exist.  Construction is the building or assembling of an infrastructure.

Working online is a fluid experience which calls for flexible learners

“co - investigators”

(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

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

modeling, coaching and fading steps

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

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

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

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”

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

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

d esign combines the “process and product”

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 ”

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

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

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)

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.

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.

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 epistemological frame isbest for this audience and this purpose, and in what order is it best to presentthe curricular entities to learners?

We see four rhetorical/semiotic principles operating in the process ofrecontextualisation: selection, arrangement, foregrounding and socialrepositioning.

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.

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.

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.

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.

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.

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.

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.

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

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.

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

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

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.

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.

Middle School Project: Public Art

Keeping Assessment Relevant and "Authentic"

Keeping Assessment Relevant and "Authentic"

Beware online "filter bubbles"

Online Reading Comprehension

Online Reading Comprehension

Online Reading Comprehension

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

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.

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.

Phase 1: The Basics

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.

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.

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.

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

like giving students roles to play:

This process involves the following five phases:

introduction, task, process, evaluation, and conclusion

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

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.

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

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

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.

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

 Teaching, Learning, and Sharing Openly Online 

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?

“Healthy Skeptics”

Play “One Click”

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

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

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).

. 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

First, it appears that online reading comprehension typically takes place within a problem- solving task

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

Proficiency in these continuously new, online literacies will define our students’ success in both school and life.

“tweet seats”

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

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.

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

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

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

two-way cultural conversations within a “networked public”

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.

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

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.

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)

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

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

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

Modification involves changing the task, and personalizing the project.

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.

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.

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

4C’s

are grouped intentionally to provide a mix of skill levels,

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

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

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

Critical Thinking:

Defining Formative Assessment

The SAMR Ladder:Questions and Transitions

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

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.

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.

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.

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.

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

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

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)

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.

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

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.

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.

Expanding diversity and building capacity

opportunities for mastery of specialist language and practices.

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

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.

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.

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

Clarissa

evidenc

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

SAMR in 120 Seconds

TPACK Example

The surprising truth about what motivates us

Motivating Learners

Will Richardson

Connected Learning in Teaching Practice

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

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

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

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

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

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

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

and mentoring has become a critical ingredient for such success

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

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.

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

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

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

novel, complex, and comprehensible.

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

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.

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

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

“always connected” individuals

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.

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.

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

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

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

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

Doing so invariably sharpens and focuses teaching.

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

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

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.

Civic: Develops and helps acquire the concepts of democracy and global citizenship as individuals become participants in society

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

Identifying rights retained and removed through user agreements.

sharing data online.