20 Matching Annotations
  1. Jan 2019
    1. a difference that becomes much more acute when learning goes online

      This resonates so strongly with me - that sense of being made more acute, online, and even amplifying (both good and bad) when teaching interfaces with online. In our previous "jam" on chapter 1 Sean and I were discussing the binaries (or lack thereof) between "online" and "not-online" teaching and learning, and hybridity. Hybridity amplifies and makes more acute certain practices and policies, as well as modes of engagement and lifelong learning, that we have largely been complacent about in "traditional" teaching (whatever that means). This was perhaps the biggest shock to me as an instructor who started teaching in seminar rooms and now teach fully online courses.

    1. Far too much work in educational technology starts with tools, when what we need to start with is humans.

      Here is an important thesis, one that TLTS, rethinq, COLTT, DigPed Lab, and others are trying to tease out and render into practice.

    2. If, indeed, all learning is necessarily hybrid,

      I continue to come back to this thesis, attempting to unpack the levels of hybridity that now condition the experience of learning (both the learning itself and the construction of the environments in which it is engaged) - Hybridity plumbs the depths of our institutions at this stage, and necessitates a rejection of the old binaries between online / not-online

    3. The year of the MOOC, the death of the MOOC

      As one of those folks still working in MOOCs, it has been fascinating to watch the ups and downs, and the twists and turns, that perceptions of this vehicle have taken. I wonder how much the narrative of "life and death" of edtech tools or strategies distorts the nature of how we use them? MOOCs are still proving to be powerful triggers and invitations for faculty at Boulder to think more mindfully and intentionally about their teaching practices. Isn't that a form of life as well?

  2. Nov 2018
    1. ecosystem

      I wonder about the tension inherent in this ecosystem? How free-form will this be? Should there be limits or parameters?

  3. Aug 2016
    1. rather than tearing people apart by keeping them indoors and encouraging disengagement, technology can bring them together in the real world.

      Major claim statement - yet relies on an interpretive binary construction. Perhaps Pokemon GO just captures an inherent potential suppressed by fears of "disengagement"?

    1. Annotation Flash Mob 1

      Excited for this! What can we expect?

    2. Panel: “Lessons from Using Web Annotation in the Classroom ”

      Really looking forward to this session!

    3. Hypothes.is

      Is it ironic that there are no annotations on the Ed Inst page? :)

  4. Oct 2015
    1. while a common pop-culture example is the Choose Your Own Adventure series in young adult fiction and other similar gamebooks.

      I've taught several lit classes where I begin by having students read a CYOA book. It is very effective at getting us thinking about structure, format, and readerly experience.

    1. Hypertext is the underlying concept defining the structure of the World Wide Web

      This is in part what makes hypertext art so alluring, it articulates our desires and fears within the terms of our changing sensory and cognitive experiences.

    1. There is continuity, after all, across the ages riven by shifting technologies.

      This is a compelling idea I have been grappling with myself as I think about digital pedagogy and the future of the humanities. Finding continuities in history as opposed to just disruptions can really help but technological shifts in context.

    1. Suiface.

      this is what I am constantly drawn to - the interface. the moment of encounter between poem and reader, embedded within all sorts of constructed architectures of code and expectation. so much potential.

    2. To read digital literature well, we need to be specific about system behav­ior and user experience-and explicitly aware that data's impact on experience is at least as great as process and interaction.

      this is critical. the format, presentation, and interface of dig lit is what invites us into the content (or intentionally doesn't).

    3. examination of individual outputs will not reveal what is interesting about Strachey's project.

      This is the kind of thinking that turns us back to format and context, uncovering what is truly radical about how we interface digital literature.

    1. I generally understand Web 2.0 as the replacement of static HTML pages with a series of mathematical procedures, or algorithms, that construct brand-new pages on the fly after you click a link.

      This is how participatory culture changes the nature of networked production. Now, with our comments, this webpage is not the same as it was before we annotated it. Our contributions help shape the reality of the web. This is profoundly empowering, if not outright terrifying!

    1. a lot of important discussion happens online

      Another critical distinction - in this very course, we are participating in shaping what falls under the term "electronic literature" - these conversations are now part of the critical field in a way that would have been impossible before Web2.0.

    2. I generated (fig. 1) using Google’s Ngram viewer, asking it to compare the frequency of the terms hypertext fiction, electronic literature, digital literature, digital poetry and e-poetry in books published from 1985 to 2008

      This is such an interesting approach to hunting definitions. In the academy the use of terms is so specific to context and time, and to track these words across time really captures the urgency of emerging fields.

    1. an emergent literary form and academic field

      The concept of emergence is useful here. "Emergence" can be understood to be new formations of knowledge or new and unexpected effects that come out of the workings of complex systems. Emergent effects are unanticipated, responsive, and surprising. In this way, e-lit is vital both as a mode of artistic production AND as a subject of scholarship (pushing and pulling traditional scholarship outside of its comfort zone) because it surprises us and teaches us about possibilities we never knew existed.

    1. “born digital” works are created explicitly for the networked computer

      This is the critical piece, it seem to me. E-lit is thus about communication/community, the capacity to share works in new ways and to watch them inhabit spaces of constant movement rather than the stable archives of libraries, museums, etc.