CHS e-portfolio requirements

CHS e-portfolio requirements (June 2011)

  • Reflection on teaching, including indicators of professional reading
  • Evidence of student feedback with teacher reflection
  • Reflection on engagement with parents
  • Reflection on professional development over the last two years
  • Samples of students’ work with teacher reflection
  • Reflection on other roles in the school community
  • Role as teacher leader
  • Equipment management (purchase; repairs; maintenance) & Technological  expertise:
  • Cross curricular activities (helping teachers & their students make films for their classes):
  • Extra duties:
  • Benefits for CHS
  • Technological innovation

Synthesis: (ETEC 565)

E-Portfolio assignment #6: Synthesis reflection

From my flight path

As I contemplate what I learned since the beginning of this course, I realize that although my flight plan has been slightly altered during the process, my destination has remained unchanged: to discover pertinent technological applications in the field of digital communication. The difference is that, instead of exploring the digital film realm, I took a new route and redirected my course of studies towards the field of foreign language education.

What I originally put forward in my flight plan:

  • On Moodle: Investigate the various interactive and assessment options, available on this platform.
  • Harness the power of social media to provide students with a vehicle for exploring and creating original content.

“Children and teenagers are the main target of the powerful mass media and their messages. We act, think, live and dream depending on what others think about us, so we create this imaginary world where we present ourselves as the reflection of a media constructed image” (Christensen, 2000).

 I tried tackled the concept of identity when I selected a tool for my digital story. I found an appropriate type of content, a Mayan legend, and devised a project allowing the use of imagination as well as the exploration of Hispanic cultural settings.

What I explored:

  • At first, I thought that I was going to create a digital film for this course, and use it to enhance what I do in the digital film communication classes. However after further reflection, and after more information about what this course had to offer, I decided to experiment with the various tools at our disposal and opted to create effective Spanish communication tools.

Reflection on the eLearning toolkit experience overall

  • The design of a UBC blog:
    • The activity confirmed my interest in this powerful tool. Not only does it allow the presentation of student research and accomplishments; it is also available for future references and for collaborative work.
  • DVD authoring:
    • A favorite of mine, as the digital film communication leader in my institution. I tend to believe that, despite the level of difficulty involved in the more complex filmmaking tools, this form of storytelling is one of the most inclusive ways of presenting knowledge. It comprises audio and visual components, which allow for artistic expression; linguistic abilities (for scripts); communicative and collaborative skills (for screening); and research & technological know-how. In brief, it satisfies many, if not all the ISTE standards (2007).
  • Assessment on Moodle:
    • The production of a quiz in Moodle was a new experience for me. I found the possibilities worthy of note and intend to continue experimenting with these tools in the future.
  • Wiki activity:
    • Wikipedia has become such an important web-based tool that it seems justifiable to explore the way it is collectively shaped.  
    • On the one hand, cooperation with this type of medium can be complex due to the quantity of information that it can store and the number of people that can participate.
    • On the other hand, HTML authoring is an essential part of digital literacy. The wiki activity allowed students to further practice this useful code.
  • Web-based storytelling (Slide; Picasa; Flickr; …):
    • After exploring a great number of the suggested applications:
      • Animoto; motionbox;
      • VCASMO;
      • Kerpoof;
      • Voice Thread
    • I am pleased with the discovery of “Slide”. This tool is easy to use; offers many options; includes the use of music with the proper licensing; and can be tailored to a number of linguistic activities. It is a very good alternative to filmmaking, which, as mentioned before, can be a complex endeavor for less experienced students and teachers
    • Using the SECTIONS model (Bates & Poole, 2003) to analyze this social medium:
      • it will appeal to students;
      • it is easy of use;
      • there are no costs involved for the students (the structure is paid by the school: web access);
      • the teacher becomes a facilitator and the students becomes in charge of their own learning;
      • it is interactive;
      • organizing the activity is simple and relates well to the course objectives;
      • the novelty is enticing and can be linked with other social media tools such as Flickr, etc.;
      • the speed of production and delivery is adequate.
  • E-Learning toolkit: Web design and HTML authoring:
    • Useful tips:
      • Avoid too much information; not too little either
      • Be consistent in the way it is structured; designed
      • Use relevant images
      • Clear print
      • Easy to follow numbering system
      • Good overall design
  • Social media:
    • With the recent changes on Facebook, it has been a challenge to decide whether or not to keep the account. I am aware of the fact that some schools do not allow teachers to use Facebook with their students. In my case, it is the main reason why I use Facebook: to be able to easily contact my family, friends and old students.
  • Weblogs:
    • It is one of the invaluable technological tools that I have learned to use in my classes. In the film class, all my students have e-portfolios and we use wikis and blogs to embed their films and archive them for university applications. In Spanish, I intend to do the same.
  • Wikis:
    • This kind of platform allows me to store my students’ films without having to worry about the price or the storage space. I can embed the films if they have been uploaded on my student’s e-portfolio, on YouTube (most have, except for the ones who were too long or experienced some uploading complications).
  • Adaptive technologies:
    • It’s important to realize that while many people with disabilities have access to these technologies, in my school very few do. Therefore, I usually build my online resources with a minimal need for such technologies.
    • I think that the most important technological adaptation would be auditory. It may not be due to a disability, but rather because some people learn better by hearing rather than visually. This is often the case with language students (and teachers too!).
  • M-learning:
    • Accessible to all and less expensive than say, cameras and microphones.
    • Behaviorist – activities that promote learning as a change in learners’ observable actions
    • Constructivist – activities in which learners actively construct new ideas or concepts based on both their previous and current knowledge
    • Situated – activities that promote learning within an authentic context and culture
    • Collaborative – activities that promote learning through social interaction
    • Informal and lifelong – activities that support learning outside a dedicated learning environment and formal curriculum
    • Learning and teaching support – activities that assist in the coordination of learners and resources for learning activities

 Reflection on the overall ETEC 565 experience

Selecting appropriate technological tools

  • To start with, it has become clear that selecting appropriate technological tools is a sine qua non for teachers. Rather than trying to follow trends, educators benefit from making judicious choices about the technology they use by considering the ways in which it supports their programs’ learning outcomes (Bates & Poole, 2003).

Assessment Strategies

  • Starting with the end in mind is always a good place to initiate an adventure. In this light, the creation of an evaluation rubric for an LMS system was a worthwhile experience. It also combined the “communication and collaboration”; “critical thinking, problem solving and decision making”; as well as “technology operations and concepts” prescribed in the ISTE standards.
    • Collaboratively recognizing key attributes of a LMS, as well as weighing the infrastructure needed for successful delivery, made it possible to come to an agreement on the choice of an appropriate platform.
    • Investigating the characteristics of synchronous and asynchronous communication gave me an unambiguous idea of the manner in which time and space can be allocated in learning environments.
    • Real –time has taken a new meaning and is linked with the ability to connect at any time, in a chosen location. For this reason, technology assisted assessment can be very practical and motivating for students, who seek to have immediate feedback on their achievements. Peer assessment as well as critical thinking, triggered by discussion forums, are also valuable opportunities offered online.

Digital Storytelling

  • By using “slide” as a tool to illustrate a Spanish legend, I realized the potential of this type of online experience in relations to exploring new cultures and collaborating in the creation of projects in a foreign language.

The next steps in terms of my practice in educational technology

  • In my flight plan I considered the use of “Audacity”, a software program for the production of audio elements. I explored the tool in this course, but chose not to include it in my digital story assignment. A PowerPoint presentation is incorporated in the Spanish Moodle course (created for ETEC 565, UBC) and involves audio recording. With the audio already covered in my LMS’ second module, I decided to investigate other tools. Now that I have experimented with Audacity, it will be an exciting challenge to find other relevant ways to apply this tool in the Spanish courses.
  • Thanks to the Moodle course created as an assignment for ETEC 565, I have finally discovered an LMS course design that I can reproduce for both my digital film communication classes and the Spanish program. I have already started to mentor other teachers in that regard. In Spanish, all our courses will be structured in a similar way on Moodle. This will facilitate the navigation for students. Some of the online activities are also included in the assessment procedures, which will encourage active participation and collaboration.
  • My next endeavor is to create a pilot course for a full online digital film communication program for my institution. It will include the creation of an international media studies and digital storytelling curriculum. I plan to use the SECTIONS model to design the course: students; ease of use; cost structure; teaching and learning; interactivity; organization; novelty; and speed (Bates & Poole, 2003). While keeping in mind the “7 Principles of Good Practice” (Chickering & Ehrmann, 1996), I also plan to continue my exploration of online learning theoretical frameworks (Anderson, 2008).

Conclusion

To close, a review of the 2007 ISTE standards clearly shows that innovative educational strategies were taken in consideration for this course: Creativity and innovation (digital story); communication and collaboration (assessment rubric); research and information fluency (social media); critical thinking, problem solving, and decision making (wiki activity); digital citizenship (copyright infringement laws); technology operations and concepts (e-learning toolkit: LMS; web design; communication tools; social software; weblogs; wikis; and multimedia tools).

It is with both regret and satisfaction that I complete my last course in the Master of Educational Technology program at UBC. It has been a fabulous didactic quest that I will bring with me as long as I teach. This online experience has changed the way I look at education. Thanks to the possibilities offered on the web, I will always look forward to my next learning adventure.

References:

Anderson, T. (2008). Towards a theory of online learning. In: Anderson, T. & Elloumi, F. Theory and Practice of Online Learning. Athabasca Unversity. Accessed Online 9, June, 2009 http://www.aupress.ca/books/120146/ebook/14_Anderson_2008_Anderson-Online_Learning.pdf

Bates, A.W. & Poole, G. (2003). Chapter 4: a Framework for Selecting and Using Technology. In Effective Teaching with Technology in Higher Education: Foundations for Success. (pp. 77-105). San Francisco: Jossey Bass Publishers.

Chickering, A. W., & Ehrmann, S. C. (1996). Implementing the seven principles: Technology as lever. American Association for Higher Education Bulletin, 39(7), 3-7. Accessed Online 15, May, 2009 from http://www.aahea.org/bulletins/articles/sevenprinciples.htm

Christensen, L. (2000). Unlearning the Myths that bind us: Critiquing Cartoons and Society. In reading, writing and rising up: Teaching about social justice and the power of the written word (pp. 40-47) A Rethinking Schools Publication.

The ISTE (2007), National Educational Technology Standards (NETS•S) and Performance Indicators for Students: http://www.iste.org/Content/NavigationMenu/NETS/ForStudents/2007Standards/NETS_for_Students_2007_Standards.pdf

Slide: http://www.slide.com/

Educause: http://www.educause.edu/ELI/Archives/MobilityandMobileLearning/5527

The Hidden Dangers of Social Networks: You can log-on but you cannot hide: http://www.slideshare.net/lisbk/the-hidden-dangers-of-social-networks-you-can-logon-but-you-cannot-hide

Literature Review in Mobile Technologies and Learning: http://www.futurelab.org.uk/resources/documents/lit_reviews/Mobile_Review.pdf

Moodle Lesson: YouTube and youth culture (ETEC 531)

In this Moodle lesson you will explore the inter-relationships between: YouTube and youth culture

Definitions:

Youth:

  • young person: a young person (especially a young man or boy)
  • young: young people collectively;
  • the time of life between childhood and maturity
  • early maturity;
  • the state of being young or immature or inexperienced
  • an early period of development;
  • the freshness and vitality characteristic of a young person

(wordnetweb.princeton.edu/perl/webwn)

Culture:

  • a particular society at a particular time and place;
  • the tastes in art and manners that are favored by a social group
  • acculturation: all the knowledge and values shared by a society

(wordnetweb.princeton.edu/perl/webwn)

Youth culture:

  • youth-directed media and popular culture
  • youth-as-trouble
  • youth-as-fun
  • youth-as-future
  • youth-as-confusing tribe

Youth culture is most usefully defined as a field of artifacts, identities and practices which are circulated by youth as about and for youth.

(Driscoll, C. & Gregg, M. (2008). Broadcast yourself: moral panic, youth culture and internet studies. Pre-print of published chapter appearing in Usha Rodrigues (ed), Youth and Media in the Asia-Pacific Region,Cambridge Scholars Press, Cambridge)

Engage

Related pre-test question: Is YouTube its own culture?

Watch this Power Point Presentation

 Mobile Youth Tribes

The Mobile Youth Culture of Tribes

Understanding youth culture is not easy. This presentation defines tribes are core to youth culture. With Facebook, MySpace and YouTube, for example, young people’s values are no longer based on where they live (geography), but how they live (lifestyle).

Explore

Related pre-test question: What role does YouTube play in defining youth culture?

YouTube tribes & communities

Scroll through this YouTube video to see the numbers.

YT Identity Survey Results

Have a look at this YouTube video to explore the meaning of community.

What Defines a Community

Positive youth roles

Positive Youth Roles

Dangerous zones: the beginning of this video shows you what is on the web about eating disorders (note that to see pro-anorexia videos, one needs to sign in)

The Truth about Online Anorexia

Explain

Think:

a. Do you agree with the analogy that defines youth culture as a variety of tribes / communities?

[…] “generational consciousness” finds its most acute expression in subcultures. Subcultures exist at the cultural fringe and are typically anti-establishment and confrontational. Subcultures are frequently portrayed as dangerous by the mainstream media and are typically associated and confused with delinquency.

The majority of Western youth will never invest themselves in a subculture proper. They will, nonetheless, invest themselves in a youth identity that sets itself apart from the identities of the older generation. Such non-subcultural identities are typically modified, less confrontational, versions of subcultural identities.

Divested of their extreme stylistic alterity and transformed into a consumable object by fashion, music and other cultural industries, subcultural styles are frequently appropriated by, and thereby integrated into, dominant culture. (http://iyp.oxfam.org/documents/Chapter%2011%20Global%20Youth%20Culture%20&%20Youth%20Identity.pdf)

b. If you were to choose a community to join in YouTube, which one would it be?

Discuss:

Related pre-test question: Is Youtube a mainstream American culture, or does it have distinct entities?

The internet age threatens to condense the entire world’s culture into a single YouTube video:

In it [this single YouTube video] a personification of Youth Culture dances to 50 Cent while sipping a giant, corn-syrupy Starbucks latte. It’s world unity, sure, but from Helsinki to London to Paris, many fear that the oncoming juggernaut of the new internet age may pave over local difference. (http://www.utne.com/2008-01-08/Politics/Euro-Youth-Culture-in-Crisis-YouTube-and-Hip-Hop-to-the-Rescue.aspx)

a. Do you think that YouTube is generating conformity, rather that tribal differences?

b. Can both of these realities co-exist (tribes & conformity)? How?

Extend

Read

Related pre-test question: Does the Youtube community have rituals they practice? If so what purpose do these rituals fulfill?

Is YouTube’s allure raising risk-taking in youth culture? Burlington accident a reminder of sometimes tragic consequences when extreme stunts go wrong

By Meredith MacLeod, Metroland West Media Group News (http://www.burlingtonpost.com/news/article/261371)

Gainor says tragic incidents should reinforce to parents that they have to monitor every site, every message, every video their child watches.

a. What do you think of the last statement? Why?

Navigate through these sites

Related pre-test question: How does Youtube build a sense of community?

http://www.journalofaestheticsandprotest.org/6/another/youthtube.html

  • YOU-TUBE-SIZED: 10 Radical Things About YouTube

http://www.youthmediareporter.org/2007/01/an_internet_video_revolution.html

  • YouTube offers a new, paradoxical model for youth media activism; it is used as a resource for organizing and civic action, but viewed as a profit driver by its corporate owners. Ultimately, YouTube offers youth a powerful tool in planting the seeds of social change outside and within a corporate domain.

http://www.theseminal.com/2007/07/23/the-youtube-debates-misrepresented-american-youth/

  • Instead of seeing the youth as the smart, dedicated, and serious people that we are, CNN equated youthfulness with childishness.

Watch this rap video about youth and the media

Related pre-test question: Have sites like YouYube helped or hurt youth culture?

Evaluate

Related pre-test question: Has video sites like youtube been a positive or negative influence to society at large?

Music, Media & Today’s Youth

A slogan is a memorable motto or phrase used in [various] contexts as a repetitive expression of an idea or purpose. (http://en.wikipedia.org/wiki/Slogan)

  • Will your slogan give a positive outlook on YouTube? (democratization of information; freedom of expression; etc.)
  • Will your slogan play on the dangers of YouTube? (stalkers; false authenticity; hidden corporate interests; etc.)

Examples:

  • “The Power to Be Your Best.” (Apple Computers Advertising Slogan)
  • “Let your fingers do the walking.” (Yellow Pages Advertising Slogan)
  • “It’s the real thing.” (Coca-Cola Advertising Slogan)
  • “Just do it.” (Nike)

To design your slogan, reflect on these final (post-test) questions:

  • What impact has YouTube had on culture?
  • Will YouTube replace television?
  • Are the videos on YouTube an accurate reflection of society/culture?
  • What effect does Youtube have on culture and society?
  • What are the various identities of the YouTube community members?

My ETEC Portfolio

Master Program E-portfolio

The development of this portfolio has been very much like an adventure!

My core courses showed me the way to academic accuracy. The electives directed me towards technological ventures and artistic exploration.

This e-portfolio is a culmination of my scholarly voyage. The master program has motivated me to innovate in the field of pedagogy and has instigated profound changes in the way I use technology. This educational adventure has helped me shape my philosophy, which can be summarize as: “teaching with technology should advance the development of knowledge, rooted in the principles of the charter of human rights, and consider economical and political perspectives as well as the environment“.

My goal has been to present what I discovered and achieved during this master program in a multimodal fashion. I hope that my research papers, multimedia creations, reflections and films will provide interested educators with an exciting educational adventure!

If you wish, you can have a look at my initial proposal: cdrolet ETEC590 final prop / or pdf file: cdrolet-ETEC590-final-prop

UBC assessment guidelines:

  • Be integrative, through requiring generation/application of ideas across courses.
  • Generate research findings and/or link theory/research to practice.
  • Demonstrate an individual’s learning.
  • Result in a concrete product that demonstrates linkages and applications.
  • Be of personal use to the student and considered educationally valuable by an audience of professional peers.

Here is my final assessment rubric: Assessment Rubric /or pdf file: Rubric-ex-cd-final1

Reviews:

Here are the peer reviews for my e-portfolio:

  • Review initial 1
  • Guidelines of my peer reviewers I
  • Review I CD ep
  • Review I CD 2 ep
  • Review II CD ep
    • After carefully considering the peer reviews at this point, I decided to make some adjustments to my e-portfolio:
      • I modified the guided tour by adding some written clarifications.
      • I simplified the ETEC 590 / Met e-porfolio section, for easier access.
      • Reflections are now hosted in the MET course section and easily found under selected artifacts.
      • Typos have been corrected.
      • A transcription of my guided tour has been added under the screen cast, to provide an additional tool.
      • This review has encouraged me to continue looking at the e-portfolio as an adventure!
  • Review II 2
    • Reflections on this review lead to these adjustments:
      • Added a link to the MET home page /official course descriptions.
      • Emphasized the categories option (connecting the topics studied). 
      • Placed the MET courses page first and the Artifacts page after.
        • After pondering this decision, I decided against it. It is my belief that prospective employers will be mainly interested in my artifacts. They might have a closer look at the courses’  page if they feel the need to validate their selection process.
  • review II 3
    • “Gold star e-portfolio!
      • There is no doubt that you have become a master of educational technology”.
    • I like that!
  • Review III-1
    • I am particularly proud of these comments:
      • Use of film makes the project more interesting to navigate.
      • It is visually engaging and accompanied well by audio.
  • Review III 2  
    • I am particularly proud of these comments:
      • I believe that the video tour should be short yet informative which I feel you have accomplished.
      • A video tour that reiterates everything that is contained within the pages of the eP would be overwhelming and redundant.
      • I think that your video tour touches sufficiently on the above criteria by directing the viewer to each page where the criteria are further developed.
      • Your video tour gave me a better sense of the organization of your site, and (importantly) kept my attention by keeping it under 5 minutes.
      • eP is very comprehensive and thorough.
      • I am anointing you are the queen of reflection!
  • Reflecting on my reviews
  • More reflections:
    • Thanks to my instructor’s thorough reviews:
    • I converted my papers (in artifacts section) from ”doc” files to “pdf” files, in order to faciltate access to original work. I also added pdf files in this section to see my initial proposal and my assessment rubric more easily.
    • The comments inspired me to confirm some choices that I had initially made regarding the audience and the purpose. It is now clearer than ever that my e-portfolio is a document that should appeal to professionals and prospective employers.
    • Much thought has been given to the presentation in order to optimize clarity & professionalism.
  • Thinking… about my reflections!:
    • They come in the form of written comments to selected artifacts.
    • They can be heard by clicking on the audio files in the MET courses section.
    • For more than a year now, I have collected the most relevant academic reflections from the courses I have undertaken. They are found in the posts hosted under each course category.
    • My films are audio visual comments of my experience and practice as I was using and applying the knowledge acquired in the MET.
    • Introductions to various artifacts, pages, films, as well as my “about me” tab, provide a variety of reflections regarding my e-portfolio adventure.
    • Finally, this post, hosted in the ETEC 590 course category (to be consistent), also harbors some of my reflections about the review process.
    • An adventure is has been… and the journey continues!
  • Instructor’s final feedback:

Peer reviews I made for other students’ e-portfolios:

  • I have also written and shared many reflections about my ETEC 590 community of practice members’ personal e-portfolios.
  • For privacy reasons I did not include the peer reviews that I wrote for other students on this website.

E-learning Design for Indigenous Communities (ETEC 521)

E-learning Design for Indigenous Communities:

Towards a Pedagogy of On-line Education for Aboriginal Cultures

5000 words (text only: including neither references nor tables)

Chantal Drolet

For: ETEC 521 (Michael Marker), University of British Columbia, 2009

 Introduction

Is web-based instructional design tailored for the needs of powerful ethnic groups? Is it conceivable to devise an e-learning model with the potential of accommodating multiple cultures? If technology supported educational environments can embrace cultural diversity, what are the best online practices for aboriginal learners?

            The problem resides in the divestment of communal learning traditions. Contemporary academic research stipulates that dominant cultures are responsible for producing instructional design models that de-contextualize the learning experience (Collis, 1999, as cited in McLoughlin & Oliver, 1999). Moreover, studies show that the creation of web-based education is influenced by the designers’ theories of knowledge and objectives.

Part 1

Concepts and Assumptions 

            This research project explores the ways in which on-line delivery of instruction can include various communicating and information processing preferences. The paper bases its approach on Lave & Wenger’s 1991 conceptual framework (as cited in McLoughlin & Oliver, 1999) concerning communities of practice and examines the possible development of an e-learning design model including: structures, processes, tasks, activities and educational outcomes tailored to the needs of indigenous societies.

To read the entire paper, please click on: cdrolet ETEC521 major paper

Indigenous cultures in an interconnected world (ETEC 521)

Indigenous cultures in an interconnected world

In this chapter, it is made very clear that aboriginal peoples want to be in charge of their online image.

  • The authors underline the negative perception that natives seem to have of the “Indian wannabes”.
  • The web seems to be a fruitful avenue for indigenous learners as long as:
    • There is an involvement of the community
    • There are ways to ascertain the non interference of wannabes
    • Internet / Advantages:
      • There are ways to join with other tribal or traditional groups
      • Internet / Drawbacks:
        • How to compose with powerful concepts like: “One web, one culture… “

Chapter 4 of book (Indigenous cultures in an interconnnected world, Claire Smith & Graeme K. Ward, 2000)

DIGITAL FILM: Technology & Spanish (ETEC 532)

PART 1:

The Challenges & Opportunities Involved in Optimizing Foreign Language Acquisition

with a Holistic Approach to Technology:

In our connected world, it has become indispensable for students to comprehend and represent knowledge in a multitude of formats.

Consequently, new educational approaches using digitally based literacy tools such as:

• Audio
• video
and various
• digital systems…are increasingly required.

Part 2:

The Use of Digital Film Communication as part of a Multiliteracies Curriculum Designed to Learn Spanish

a)  Producing a film in a Spanish class, for example, offers the conditions necessary to augment the effectiveness of linguistic acquisition:a) Excellent input in the form of authentic materials;

b) Plenty of practice through oral communication;

c) Varied types of feedback;
and

d) Personalized content pertaining to the student’s learning style and interests
(Zhao, 2005)

The intent of this production is to demonstrate that using digital film production to learn a foreign language can be an effective part of a comprehensive technological program for language educators. 

Please right click and choose “open in new tab”

FILM: Digital Film & Spanish

MOODLE: YouTube & Youth Culture (ETEC 531)

YouTube & Youth Culture

As part of a Moodle module “The YouTube Effect”

In this lesson you will explore the inter-relationships between

YouTube and youth culture

Definitions:

Youth:

·      young person: a young person (especially a young man or boy)

·      young: young people collectively;

·      the time of life between childhood and maturity

·      early maturity;

·      the state of being young or immature or inexperienced

·      an early period of development;

·      the freshness and vitality characteristic of a young person

(wordnetweb.princeton.edu/perl/webwn)


Culture:

·      a particular society at a particular time and place;

·      the tastes in art and manners that are favored by a social group

·      acculturation: all the knowledge and values shared by a society

(wordnetweb.princeton.edu/perl/webwn)


Youth culture:

·      youth-directed media and popular culture

·      youth-as-trouble

·      youth-as-fun

·      youth-as-future

·      youth-as-confusing tribe

Youth culture is most usefully defined as a field of artifacts, identities and practices which are circulated by youth as about and for youth.

(Driscoll, C. & Gregg, M. (2008). Broadcast yourself: moral panic, youth culture and internet studies. Pre-print of published chapter appearing in Usha Rodrigues (ed), Youth and Media in the Asia-Pacific Region,Cambridge Scholars Press, Cambridge)

Engage

Related pre-test question: Is YouTube its own culture?

Watch this Power Point Presentation

 Mobile Youth Tribes

The Mobile Youth Culture of Tribes

Understanding youth culture is not easy. This presentation defines tribes are core to youth culture. With Facebook, MySpace and YouTube, for example, young people’s values are no longer based on where they live (geography), but how they live (lifestyle).

Explore

Related pre-test question: What role does YouTube play in defining youth culture?

YouTube tribes & communities

Scroll through this YouTube video to see the numbers.

YT Identity Survey Results

Have a look at this YouTube video to explore the meaning of community.

What Defines a Community

Positive youth roles

Positive Youth Roles

Dangerous zones: the beginning of this video shows you what is on the web about eating disorders (note that to see pro-anorexia videos, one needs to sign in)

The Truth about Online Anorexia

Explain

Think:

a. Do you agree with the analogy that defines youth culture as a variety of tribes / communities?

[…] “generational consciousness” finds its most acute expression in subcultures. Subcultures exist at the cultural fringe and are typically anti-establishment and confrontational. Subcultures are frequently portrayed as dangerous by the mainstream media and are typically associated and confused with delinquency.

The majority of Western youth will never invest themselves in a subculture proper. They will, nonetheless, invest themselves in a youth identity that sets itself apart from the identities of the older generation. Such non-subcultural identities are typically modified, less confrontational, versions of subcultural identities.

Divested of their extreme stylistic alterity and transformed into a consumable object by fashion, music and other cultural industries, subcultural styles are frequently appropriated by, and thereby integrated into, dominant culture. (http://iyp.oxfam.org/documents/Chapter%2011%20Global%20Youth%20Culture%20&%20Youth%20Identity.pdf)

b. If you were to choose a community to join in YouTube, which one would it be?


Discuss:

Related pre-test question: Is Youtube a mainstream American culture, or does it have distinct entities?

The internet age threatens to condense the entire world’s culture into a single YouTube video:

In it [this single YouTube video] a personification of Youth Culture dances to 50 Cent while sipping a giant, corn-syrupy Starbucks latte. It’s world unity, sure, but from Helsinki to London to Paris, many fear that the oncoming juggernaut of the new internet age may pave over local difference. (http://www.utne.com/2008-01-08/Politics/Euro-Youth-Culture-in-Crisis-YouTube-and-Hip-Hop-to-the-Rescue.aspx)

a. Do you think that YouTube is generating conformity, rather that tribal differences?

b. Can both of these realities co-exist (tribes & conformity)? How?

Extend

Read

Related pre-test question: Does the Youtube community have rituals they practice? If so what purpose do these rituals fulfill?

Is YouTube’s allure raising risk-taking in youth culture? Burlington accident a reminder of sometimes tragic consequences when extreme stunts go wrong

By Meredith MacLeod, Metroland West Media Group News (http://www.burlingtonpost.com/news/article/261371)


Gainor says tragic incidents should reinforce to parents that they have to monitor every site, every message, every video their child watches.

a. What do you think of the last statement? Why?


Navigate through these sites

Related pre-test question: How does Youtube build a sense of community?

http://www.journalofaestheticsandprotest.org/6/another/youthtube.html

·      YOU-TUBE-SIZED: 10 Radical Things About YouTube

http://www.youthmediareporter.org/2007/01/an_internet_video_revolution.html

·      YouTube offers a new, paradoxical model for youth media activism; it is used as a resource for organizing and civic action, but viewed as a profit driver by its corporate owners. Ultimately, YouTube offers youth a powerful tool in planting the seeds of social change outside and within a corporate domain.

http://www.theseminal.com/2007/07/23/the-youtube-debates-misrepresented-american-youth/

·      Instead of seeing the youth as the smart, dedicated, and serious people that we are, CNN equated youthfulness with childishness.


Watch this rap video about youth and the media

Related pre-test question: Have sites like YouYube helped or hurt youth culture?

Evaluate

Related pre-test question: Has video sites like youtube been a positive or negative influence to society at large?

Music, Media & Today’s Youth

A slogan is a memorable motto or phrase used in [various] contexts as a repetitive expression of an idea or purpose. (http://en.wikipedia.org/wiki/Slogan)

·      Will your slogan give a positive outlook on YouTube? (democratization of information; freedom of expression; etc.)

·      Will your slogan play on the dangers of YouTube? (stalkers; false authenticity; hidden corporate interests; etc.)

Examples:

·      “The Power to Be Your Best.” (Apple Computers Advertising Slogan)

·      “Let your fingers do the walking.” (Yellow Pages Advertising Slogan)

·      “It’s the real thing.” (Coca-Cola Advertising Slogan)

·      “Just do it.” (Nike)


To design your slogan, reflect on these final (post-test) questions:

·      What impact has YouTube had on culture?

·      Will YouTube replace television?

·      Are the videos on YouTube an accurate reflection of society/culture?

·      What effect does Youtube have on culture and society?

·      What are the various identities of the YouTube community members?

 

Full Module on Moodle (password required): http://m1.cust.educ.ubc.ca/CUSTmoodle/course/view.php?id=25

What are the implications of technosecularism? (ETEC 531)

What are the implications of technosecularism?

Secularism:

… is the assertion that governmental practices or institutions should exist separately from religion and/or religious beliefs.

In Western cultures (even in debates where religious input would be most helpful such as human cloning or fetal research) religion is in retreat as part of civil discourse while science has captured the field.
The triumph of the secular in our culture is largely the result of the triumph of empirical science.
The spiritual self:

“Knowing, being and doing are inextricable. Who we are, and how we understand ourselves in terms of our relationship with Other and the context in which we find ourselves embedded affects how we act.” (Feng, 2005)

So, on the one hand, we want to look at technology objectively. On the other hand, we are “subjects” inevitably filtering our “objectivity” through various cultural, social and economical lenses (just to name a few).

Technology may be separated from religions, if we look at religions as institutions. However, when it comes down to the more general concept of “spirituality”, encompassing many religious belief systems, it is far more difficult to set technology apart.
My place in the universe / vs / the place of my computer go hand in hand. For me, after all, my computer doesn’t exist if I don’t exit.

Existentialism & responsibility:

Existentialism, as I see it, is a philosophy based on responsibility. Human beings are responsible for their actions and decisions (even if they may not be responsible for being there in the first place).

If we look at technology through the eyes of “responsibility”, the question becomes:
• how can we use technology responsibly?
• Does that not imply that we also need to use technology compassionately? (compassion for the “robot” as much as for the “human”)

References:
http://en.wikipedia.org/wiki/Secularism
http://www.firstprinciplesjournal.com/articles.aspx?article=738
Last edited on: July 14, 2009 2:42 PM

Compassion and responsibility

Responsibility refers to “consequences”
On the net, at this time, what is the ratio of discussion re: responsibility compared to, say, discussions on Paris Hilton? I bet you that Paris wins…
That’s where I get less “enthralled” with technology… I think that it gives people a chance to communicate freely…

Communicate what?

The question is: what are we talking about and why?

This does not necessarily come from “freedom” of expression… it often comes through “programming” from television and the same media we use to communicate.
The message first:

So, is technological change only superficial, when we look at it from a communication point of view?
Perhaps the role of the teacher is to constantly bring students back to the main issue: what do you have to say?

How might technoanimism alter our views on technology and spirituality?

Animism:

• The term is derived from the Latin word anima meaning breath or soul.
• In anthropology it’s used to classify religious belief systems in which both animate and inanimate objects have souls or spirits.
• More generally, it is a world view that spiritual life permeates all things

Many researchers have indicated and innate human propensity – and even willingness – to attribute non-human objects with human-like characteristics and intelligence, even when we know fully well the objects are not human.

As the internet gains ground, and ideas of cyberspace arise, we see the collective unconscious asserting itself with a technological parallel world alongside the physical…

We are beginning to see cyberspace as a fantasy-laden realm separate to the physical, and we are filling it with all the symbolism that traces itself throughout our spiritual history.

“We have never been modern”, Latour.
References:
http://seniorproject.eu/resources/PETER_LUTZ.pdf
http://beyondtheblog.wordpress.com/2008/04/27/techno-animism/
Last edited on: July 14, 2009 2:26 PM

How different is collective prayer from collective intelligence on the Internet?

Maybe one of the differences is that praying, even collectively, creates a “silence” in one’s own… what shall I call it… heart, soul?

Whereas, collective intelligence creates “noise”… and the brain (mind) has more to do with it than the heart…
Hence this whole “secular vs spiritual” discussion…

DIGITAL FILM: Exploring Cultural Issues & Communication Studies (ETEC 531)

Exploring Cultural Issues & Communication Studies through Digital Film Production

The themes developed in this presentation have been inspired by questions from: ETEC 531 – Module 1

  1. What is communication studies?
  2. What is cultural studies?
  3. What would a digital film production high school course, including communication and cultural studies, look like if I were to design one?
This digital film asks: 
  1. How can digital film production focus on communication rather than technology?
  2. How can digital film communication include cultural studies?

Please right click and choose “open in new tab”.

Film: Exploring communication & culture through digital film production 

DIGITAL FILM: Exploring media studies through digital film communication (ETEC 531)

Exploring Media Studies through Digital Film Communication

  • Digital film communication offers an effective way of analyzing the artificial reality presented by the media.
  • Through media studies, students learn to appreciate the spin involved when publishing media content by experiencing the technological process involved in movie making.

Video (on YouTube):

(Please right click to “open in new tab”)

 Film:Exploring media studies through digital film communication

Of: Third nature; knowledge as a commodity; free of computers? (ETEC 531)

Of: Third nature; knowledge as a commodity; free of computers?

What implications might follow when we speak of technology as Third Nature?

First, let’s define “third nature”.

First nature:

as used in farming landscape

Second nature:

city landscape

Third nature:

information landscape

Implications:

Possible negative aspect:

·         We lost contact with our physical environment

·         Cultural pollution, loss of community

Possible positive aspect:

·         The same technology that separated us from the environment may actually reconnect us with it due to the power of the media.

·         Gain of a different kind of community (cyberspace)

·         Creation of new types of culture (world cyberspace cultures?)



What reasons might Lyotard have for bringing up the crisis of legitimation of knowledge?

When knowledge becomes a commodity, it loses some of its value. Also, productivity and “performativity” (Lyotard) are not compatible with a world inhabited by humans. Human beings need art, leisure, silliness, fun… which brings along creativity, innovation, fresh ideas.

I agree with Lyotard when he equates technological development with:

Sophistication

Imagination

and

inventiveness

 

Is it possible (or not) to break free of the totalizing effect of computer-controlled environments?

“I’ve been colonized” (Rheingold, Culture and technology, p. 202)

I think that his statement sums it up very accurately. We live with computers, whether we like it or not. Either we learn to use them, preferably creatively and peacefully, or we are out.

This machine driven world implies isolation, generalization and it also means a creation of smaller communities, with their own political discourses (the “petit récit).

Cyberdemocracy has become visible in the horizon with the rise of the Internet. Various discussion groups can be decentralized and are less easy to control for big governments.

CMCs (computer mediated communities) have become a reality. They are bound to generate many new ideas… will they be able to gel and change social barriers that create the disparities of our world?

Literature review: Using Digital Film Production to Learn Spanish (ETEC 532)

 Optimizing Foreign Language Acquisition with a Holistic Approach to Technology: Using Digital Film Production to Learn Spanish

Introduction

Nowadays, educators have at their disposition numerous technological tools with the capability of significantly improving foreign language acquisition. However, these possibilities cannot be brought to fruition unless the conceptualization, design, development, and deployment of technologies in support of second language learning are reconsidered.

Furthermore it has become indispensable for students to comprehend and represent knowledge in a multitude of formats. Consequently, new educational approaches using digitally based tools such as audio, video, and various digital systems, are increasingly required.

Purpose and Assumptions

This literature review will explore the challenges inherent to the integration of educational technology in foreign language acquisition environments. Particularly, it will present the ways in which digital communication technologies can be used as facilitators of linguistic proficiency.

Cognitive approach. One assumption is that presenting and analyzing various tools and approaches will clarify what technology and how technology can provide quality input, opportunities for communication, meaningful feedback, and individualized content to enhance motivation.

Socio-cognitive approach. Another basic assumption is that by using a participatory approach, students immerse themselves in various cultures while producing digital documents attesting their language skills. 

Statement of the problem

What and how can technology be used to optimize foreign language acquisition environments, especially with the use of digital film production in the Spanish classroom?  

The intent is to demonstrate that, within the assortment of technologies available to language educators, using digital film production to learn a foreign language is a practical and theoretically sound manner to use technological tools strategically. The holistic process, encompassing the use of authentic cultural artifacts; film equipment; editing software; the Internet (just to name a few technological devices) provides an opportunity to create a long-lasting awareness of the Hispanic world as well as a way to optimize the learning of its dominant language.  

Full paper (PDF file) attached here (right click to “open in new tab”)

cdrolet-etec-532-lit-review-article-annotation-critique-finalx 

Media Literacy and Education (ETEC 510)

Globalization / Networked Society, media
Media Literacy and Education
Recommendations / How we can educate

Edit of an Existing Design Wiki Entry
Edited by: Chantal Drolet, January 2009The format of this Word document: Please note that this document is a duplicate of the edit created in the wiki mentioned above. I kept the Arial font, forgone the indentations and used a subtitle format emulating the Wikipedia conventions. The APA style has been respected for quotations and references.

Rationale

With my entry, I chose to offer an example under the heading of “Recommendations / How we can educate”. There is a need to add to the information presented based on the escalating use of digital films on the web, as well as the increasing availability of this type of technology in schools. Digital film literacy can play a valuable role in the nurturing of global awareness and engaged citizenry.

The deconstruction, or analysis, necessary to produce student-made public service announcements and documentaries on racism, environmental issues or religious diversity can have a strong influence on young people’s values and conduct (Kline, Steward, Murphy, 2006).

Learning the techniques employed to create meaning in moviemaking empowers students with the capabilities of reconstructing similar products. The difference is that this time, they control the content and the depiction of the characters.

Kline, S., Stewart, K., & Murphy, D. (2006). Media literacy in the risk society: toward a risk reduction strategy. Canadian Journal of Education, 29(1): 131-153. Retrieved October 8, 2008 from: http://www.csse.ca/CJE/Articles/FullText/CJE29-1/CJE29-1.pdf#page=11

The Validity of Digital Film Communication Literacy

One of the best ways to create awareness concerning the pervasive influence of the media on behaviors and attitudes is to engage students in the production of their own media projects. Digital film making, for example, is an alternative form of media literacy well suited to develop youth’s critical analysis of the mass media.

For instance, one of the important aspects of film making is selecting a theme, researching it and devising an original angle to promote the chosen concept. In order to create a public service announcement on a social issue students must spend a great deal of time finding data and statistics about this issue.

Once a clear mental picture is created around this topic, young cinematographers must use the grammar of film making to invent an innovative and enticing way of communicating their message. Like any professional advertisement campaign, the endeavor is to hook the members of the audience; or in other words, to convey a powerful message and influence the public’s behavior.

A major difference between digital film communication and commercial media, however, is that the educational aspect of film making centers its attention on social contribution, rather than consumption. Furthermore, the intent behind the creation of media shared among adolescents is to promote citizenship and awareness (Greenhow, 2008), not to concoct artificial needs in order to increase financial gains.

This is not to say that mainstream media only produce rubbish messages, detrimental to the public. On the contrary, if chosen with discernment, valuable information can be disseminated among citizens by a number of legitimate agents such as journalists, editors, documentary makers and bloggers. The key issues reside in a clear understanding of the iteration involved in the process of media production (Stables, 1997) as well as the critical assessment needed to decide which documents to access or avoid; believe or distrust. These are the intellectual outcomes of a digital film communication program.

As mentioned earlier on this page, a number of ethnographic studies have recognized that youth is often represented with a negative bias in conventional media. For example, “girls [may be presented] as fashion obsessed and impressionable” and “teen mothers as […] welfare bums”, to give only a few examples (Kelly, 2006). Moreover, no one will refute the fact that women’s and men’s bodies, young and old, are ruthlessly exploited by advertising firms to sell innumerable products; from cars to cigarettes. Magazines, television commercials, and even newspapers disseminate these kinds of images and contribute to the distortion of young people’s self-identity, while also cultivating a passive attitude.

Students involved in digital film communication become more aware of the stratagems that promotional media utilize to influence their self-image, their choices, and by extension, their lives. Equipped with such powerful incentives to act, adolescents easily become enthralled with technological tools enabling them to take action. The creative and critical processes involved when using communication technology can be highly motivating. Analyzing the media and creating their own scripts and stories also provides them with effective strategies to respond to commoditization of youth image in commercial broadcasting (T. Riecken, Conibear, Michel, Lyall, Scott, Tanaka, Stewart, J. Riecken, & Strong-Wilson, 2006).

Film making using digital technologies generates a language of transcendence, which facilitates the articulation of a discourse surpassing the limits set by the mass media’s ordinary hubbub. Digital film communication allows students to develop healthy self-representations, responsible voices (Riecken et al., 2006) and to promote active social contributions among their peers. From this point of view, media literacy and the grammar of film making offer powerful means of combating apathy (Bell, 2005) toward some of the manipulative effects of mainstream communication channels.

Finally, the hands-on experience of movie making brings about an appreciation for the spin involved when publishing media content. It also cultivates a point of reference from which to analyze the validity of information distributed by conventional communication agencies.

Example of Student film

The following link is a TeacherTube public service announcement created by Middle School students. Contrary to the usual negative treatment that “at risk” students receive from conventional media, this production portrays them in a positive light.
http://www.teachertube.com/view_video.php?viewkey=d36b602d3380b92c2476  

Description:

“At Risk” Students is a Public Service announcement that is trying to inspire students to succeed despite the odds. This video was the 2007 Jere Baxter Middle School entry for the Panasonic Kid Witness News (KWN) program in the Public Service Announcement (PSA) Category. This video was awarded the KWN New Vision Award for PSA, the Technical Award for Writing, the Online Voting Award for Best Video, and the KWN New Vision Video of the Year-Best in the United States. Of the 14 awards given this video won four of them.

Jere Baxter is an inner-city school located in Nashville, Tennessee. The group was sponsored by Mr. Sam Frey. For winning the KWN awards, Mr. Frey was able to take three students on an all-expense-paid trip to New York/ New Jersey for the awards show sponsored by Panasonic. Then for winning Video of the Year for this video, Mr. Frey was asked to take three different students along with his wife on an all-expense-paid to Japan, sponsored by Panasonic and Japan Airlines. This video was also entered into the Tennessee eTales contest and won one of the awards given to teachers.

== References for “The Validity of Digital Film Literacy” ==

Greenhow, C. (2008). Connecting informal and formal learning experiences in the age of participatory media: Commentary on Bull et al. (2008). Contemporary Issues in Technology and Teacher Education, 8(3), 187-194. Retrieved November 8, 2008 from: http://www.citejournal.org/articles/v8i3editorial1.pdf

Kelly, D. M. (2006). Frame work: helping youth counter their misrepresentations in media. Canadian Journal of Education, 29(1): 27-48. Retrieved October 8, 2008 from: http://www.csse.ca/CJE/Articles/FullText/CJE29-1/CJE29-1.pdf#page=11

Riecken, T., Conibear, F., Michel, C., Lyall, J., Scott, T., Tanaka, M., Stewart, S., Riecken, J., & Strong-Wilson, T. (2006). Resistance through re-presenting culture: aboriginal students filmmakers and participatory action research project on health and wellness. Canadian Journal of Education, 29(1): 265-286. Retrieved October 8, 2008 from: http://www.csse.ca/CJE/Articles/FullText/CJE29-1/CJE29-1.pdf#page=11

Stables, K. (1997). Critical issues to consider when introducing technology education in the curriculum of young learners. Journal of Technology Education, vol. 8, No. 2. Retrieved October 8, 2008, from: http://scholar.lib.vt.edu/ejournals/JTE/v8n2/pdf/stables.pdf

== See Also ==

Poyntz, S. R. (2006). Independent media, youth agency and the promise of media education. Canadian Journal of Education, 29(1): 154-175. Retrieved October 8, 2008 from: http://www.csse.ca/CJE/Articles/FullText/CJE29-1/CJE29-1.pdf#page=11

Welsch, M., personal blog, A vision of students today (& what teachers must do – brave new classroom 2.0), October 21, 2008. Retrieved from: http://www.britannica.com/blogs/2008/10/a-vision-of-students-today-what-teachers-must-do/

TeacherTube: http://www.teachertube.com/

One Laptop Per Child (ETEC 510)

One Laptop Per Child

I found it very interesting to read that India had decided not to buy any $100 laptops, saying it preferred to spend the money on teachers and more traditional teaching tools.

Also, their skepticism in regards to the pilot project is definitely valid. If we are to “design social futures”, as we read in the Harvard Educational Review, we need to know where we are going before implementing technological changes, especially when it affects many countries.

What made me wonder?

What jumped at me was “[…] India’s education secretary […] said the project was “pedagogically suspect” and giving the country’s schoolchildren a laptop each could harm their creative thinking and analytical abilities.”
That’s a thought that I would not have had myself, at least recently. Perhaps ten years ago, I would also have expressed doubts. But now that I am so used to functioning with technology with almost everything I do, I tend to look at it as “pedagogically sound and excellent to develop critical and creative thinking”.

I guess that the trick is not so much the technology per say, but also how we use the technology. Of course, if we spend all our time “teaching the technology” instead of using it to learn, one can suspect that this is not educationally sound. Poorer regions may find themselves dealing with this type of situation.
Developed countries may be underestimating the time it took us to get “technologically savvy”.

The problem is that, by waiting, like India has chosen to do, this problem does not go away. The “digital divide” augments.