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Isfol Area Risorse Strutturali e Umane dei Sistemi Formativi Modelli e strumenti per l’assistenza all’apprendimento nella formazione on line (di Vincenza Infante)

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INTRODUCTION

This chapter covers the basic premise and definitions of blended learning, including a review of some key concepts and design considerations related to blended learning design, the importance of designing for peer-to-peer interactions and connections.

CHAPTER OBJECTIVES

After reading and reviewing this chapter, learners should be able to:

1. Understand blended-learning concepts, a design framework, and strategies.

2. Learn about tools and approaches to foster interaction and independence.

3. Analyze the need for design consistency and course alignment.

4. Distinguish blended learning from virtual (eLearning or mLearning) and face-to-face learning.

5. List examples of activities in your own teaching that are well-suited to virtual vs. classroom environments.

6. Review applications of effective design principles.

7. Plan a blended-learning experience.

8. Select and use interactive tools in blended learning designs.

9. Show an example of building learner independence in a blended learning design.

CHAPTER SECTIONS

1. Introduction to Blended Learning Design

2. Design Considerations

3. Managing Interaction

4. End-of-Chapter Resources

Video 3-1: What is Blended Learning

Blended learning is a mixture of face-to-face time and online time in a class. Blended learning can include anywhere from 20 to 80% of the course time online. Blended learning offers the instructor the opportunity to extend the learning outside of the classroom, thus increasing the opportunities for students to connect to each other, as well as the chance to utilize a wider array of online resources and technologies to enhance the classroom time.

Some of the common tools used to enhance a blended course:

Videos online at services such as YouTube

Bookmarking tools and online resource lists

Social groups

Course lecture and tutorials (flipped learning)

Podcasts and interviews with experts in the field

Interactive Digital Learning Objects (DLOs) at Open Educational Resource (OER) sites such as MERLOT

One example of this would be when faculty use online discussions to expand on discussions that started in the classroom. The instructor may use 30 minutes of one lecture to get a debate started, and then have the students continue that same discussion in an online discussion forum for the rest of the week. This allows the students an opportunity to delve deeper and longer into the topic they are discussing and to spend time looking up resources and information to enhance the quality of their points. This is an excellent blended learning tactic that helps advance the students learning in meaningful directions.

As you read this chapter, consider how a stakeholder group might view blended learning and what you might tell members of that group (in under 100 words) to help them in understanding what it is. Identify the stakeholder group who is the audience for your message (students, colleagues, families, employers, the public, leaders, officials, etc.)

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The following definition of blended learning is provided by The Inno sigh t In stit ute (2011): "Blended learning is any time a student learns at least in part at a supervised brick-and-mortar location away from home and at least in part through online delivery with some element of student control over time, place, path, and/or pace." Another way to think about blended learning is that it represents a shift of "school" or "college" from being a site where learning happens in specific spaces at regular times, to a flexible service in which students may engage in a great many times and places (Cavanaugh Hargis, 2010). This site-to-service shift includes several changes that are emerging as influences on the design and delivery of education, as shown in Table 3-1.

Table 5.1: Shifts from Site to Service
Tweet Chat: #virtuolearn
Tweet about the differences between blended-learning and traditional face-to-face learning.

3-2 Video: Flipped Learning

The most recent models of blended learning reaffirm the proven learning design principle of a consistent vision and purpose that is reflected in consistent design, from the organization level through the lesson level (Ferdig, Cavanaugh, & Freidhoff, 2012). Key lessons from successful blended education programs are that successful blended programs have direction, were created for a reason, and all decisions about the designs in the program adhere to the overarching direction and purpose and are expressed consistently throughout a course and program, both conceptually and visually. The internal or external benchmarks, design standards, and development templates may be adopted to ensure this consistency. Many schools use frameworks and indicators such as the Quality Matters rubric to evaluate courses for quality design components and which serve as a guide and a pointer to other established guidelines. Each element of the course must serve the course goal.

The following matrix can assist in the planning:

Table 5.2 Blended Learning Plan

Blended learning is consistently shown in research to be more effective for promoting learning than either fully online or full classroom-based approaches (Means, 2009) because it combines the strengths of both learning environments.
Classroom Learning + Online Learning = Blended Learning
There are some important considerations to think about when designing blended learning modules for a course. Here are a few of those considerations to keep in mind as you progress:

1. Technology skills: Make sure students know how to use any technology implemented as a part of the course. For example, if you have students create a video for a project, be sure to include directions on how to use a video editing software with guides and tutorials to actually using the technology they need in order to complete that assignment.

2. Technology access: Double-check that students can access, open, download, and use any resources used online. For example, if many have slow Internet connections at home, then don't put PowerPoint slides online with a lot of photos, as it will make it a very large file size which is hard for them to download.

3. Accessibility: Design online learning components with universal access and different learning styles in mind. For example, on videos, include a transcript that students can read instead of listening to the video. This helps second-language learners have better access to the learning content as well.

Suitable Tasks

As in all educational design, some tasks are well suited to some learning environments, and not so much to other learning contexts. It is good to make lists of which tasks in your course will be well suited to the online portion of the blended course vs. the face-to-face portion. Be sure to consider Bloo m's Digi tal Taxo nomy and the Peri odic Tab le o f Vi sual izat ion as you read this section.
The classroom environment is well suited for:

Discussion of abstract content, brainstorming, and planning

Guest speakers who are nearby

Practicing interpersonal skills and presentations

Discussion of practices and processes

Review of assignments

Group discussions, role play, debate, speaking practice

Providing practice and feedback to students on complex or ill-defined tasks

Hands-on learning requiring the use of specialized materials that are difficult to obtain or use without instructor supervision

The online environment is well-suited for:

Reading and asynchronous discussion

Synchronous sessions with remote guests

Team project development in online space

Peer review

Video and text-based cases

Reading and asynchronous discussion

Video and other media

Presentations as background for skill development

Repeated practice with concepts and skills using tools that allow students to work at their own pace, including with interactive manipulatives, games, and simulations

Reading, viewing and listening, followed by independent reflection

Connecting virtually for conversations and mentoring and remove students or experts, conducing web surveys, or online book groups

Working on multi-media projects and sharing them with a wide audience

Learning from and creating graphic organizers

Individualized tutoring with synchronous communication tools and cyber study groups

Knowledge checks using quizzes with automated feedback

Peer review of student work

Flipped Learning

Flip ped lear ning is a type of learning in which the instructor puts lecture videos and materials online for the students to do on their own time prior to coming to class, thus leaving the class time for the students to be able to do interactive instructor-led learning activities and group work which offer the students a chance to apply what they are learning in the class in an expert-supported environment. Many feel this is a much better use of classroom time than only having the instructor stand at the front and lecture on information that students can easily view and learn before coming to class. Flip ped lear ning is a type of blended learning design approach that capitalizes on technology to help enhance the quality of the face-to-face instructional time.

Design Strategies

Begin with the end in mind, as with any learning design effort. Specify what a successful learner knows and can DO at the end of the lesson, unit, or course. Create a step-by-step plan for scaffolding learners from their likely entry point to the desired exit point. Align all activities and assessment along this learning pathway. Blended courses are ideally suited to alternate between rich interaction, frequent feedback, and periodic reflection on learning. Think of ways to seamlessly integrate a complete developmental learning experience using the two learning environments

Interactive DLO: Hierarchy of Online Course Development

Planning the Course

Design sequences of activities in a continuum so that the online materials and time between class meetings support the classroom time by preparing students for classroom activities and following up on classroom activities.

Build flexibility into timelines and activities to get the benefits of the online time between class meetings.

Focus on the sequences and strategies that are best for learning rather than focusing on the technology. Select the appropriate technology for the learners and the learning, with a preference for technology that is simple and effective rather than flashy.

Test online materials and run practice sessions with the synchronous technology.

Provide an orientation or trial session for online tests, meetings, and other components that may be new for students.

Plan each course, each week, and each session using a detailed timeline.

Create policies and protocols and communicate them to students related to timelines for your response to their contacts and assignment submissions.

Develop clear and consistent protocols for student participation in online discussions.

Tightly align course goals, objectives/outcomes, materials, and assessments.

Tweet Chat: #virtuolearn
When considering technology skills, technology access, and accessibility in blended learning design, choose one concept and tweet two barriers to achievement.

3-3 Video: Where Good Ideas Come From

Through connections with peers in learning interactions, student knowledge can be expanded and built upon. Peer- to-peer interactions are important to help students learn from each other and to challenge their thinking in new directions.

Following are some tools you can use to enhance the interactions in your course.

Table 5.3 Tools to Enhance Course Interactions

Type
Blogs, Wikis, mindmaps, social networks, project management spaces, file sharing

Chat, discussion boards, portfolios

eBooks, video, photo, sharing

Example
EduCanvas, Bubl.us, Mindmeister, Popplet, Twitter, Pinterest, Basecamp, Zoho Project, Box/Dropbox, Google Apps for education

Blackboard, Moodle, Sakai, Udemy, iTunes U, eCollege

YouTube, Instagram, SlideShare

There are many ways to implement interactive tools into your blended learning course:

1. Focus on dialogue, interaction, reflection, and collaborative activities.

2. Strive for teaching presence in online materials.

3. Learn the methods of communication that are preferred for students in between classroom sessions so they never feel abandoned.

4. Lean toward over-communication in between classroom meetings to increase clarity and understanding.

5. Provide examples for exemplary student discussion replies, assignments, and projects.

6. Develop online tutorials as necessary.

When creating the flow of events in the course, consider Grad ual Rele ase of R espo nsib ilit y (Fisher Frey, 2008). Early sessions and activities should be sequenced in smaller chunks to develop foundational knowledge and skills with more instructor leadership, feedback, and concrete examples.

In effect, the learning should scaffold independence and allow for more student autonomy as their knowledge increases. As the course continues, work can become more conceptual and complex. Students can work more independently and the instructor role should transition to that of a tutor or mentor. Finally, students should lead activities and presentations as the course culminates.

Summary

Blended learning is any time a student learns, at least in part, at a supervised brick-and-mortar location away from home and, at least in part, through online delivery with some element of student control over time, place, path, and/or pace. There are tasks well suited to blended learning design such as discussions that expand talks outside the classroom, bringing in remote guests, team work, collaboration on projects, integration of video and media, and access to online resources and tools. Use a design framework to guide the creation of the online portion of the course. Choose appropriate tools that enhance learning rather than detract. All decisions about the designs in the program adhere to the overarching direction and purpose.
Tweet Chat: #virtuolearn
Tweet a comment on your favorite web based tool or app that have you used as a learner or instructor that you feel most enhances interactions within a course.

CRITICAL THINKING

1. What is flipped learning, and how can this learning strategy be applied to your course?

2. In your course, what types of activities can easily be moved to the online delivery format, and which are best suited to the classroom time?

3. What types of interactivity can be designed into your unit plan that will provide students with opportunities for peer-to-peer learning?

CHAPTER TASK

The task is to design a blended learning lesson/unit for your course.

Consider the key concepts from the blended learning chapter, then think about your own experiences with blended learning. Choose a lesson, unit, or other component of a course that you would like to redesign systematically as a blended component. Then complete each task below after reading this chapter. Create an outline for a lesson from a class including topics, content for each topic, and teaching strategies. Decide which elements of the lesson will be face-to-face and which will be blended. Provide a brief rationale for your decisions. The readings will lead you through this design process from start to finish.

Complete the following tasks after reading each section in this chapter:

Section 1: Identify a lesson or activity in a course you teach or you will teach to redesign and add interaction as if time and space were not limitations. Use the learning objectives and assessments to brainstorm the optimal activities that would take the students from their entry state to a high level of achievement of the objectives. What is the ideal sequence and pace for these activities? Review the table called "Blended Learning Plan" in chapter 4.1. Complete your own table with specific examples of how you will redesign the activity to fit the blended learning format.

Once done, you have just done the basic steps of blended learning design: content analysis and the overall design of the learning experience!

1. Section 2: Sort the activities you named in the first task into those well-suited for the physical learning environment and those well-suited for the virtual learning environment. Refine the activities to integrate media. Develop formative assessments for key points in the activities. Remember to add details, policies, procedures, expectations, and grading rubrics. Points to keep in mind as you complete this task: Be sure to outline how you would apply the "flipped classroom concept" to the activity you identified, how you will change the activity to a blended-learning format, and how will you assess whether learners completed the activity.
You have now added to your analysis and design by beginning the development step in blended learning design!

2. Section 3: Choose one or more new tools for the activities you have developed for your blended learning module. Consider how your plan may be adapted to increase student responsibility later in the lesson/unit. Write up a graduated, step-by-step, scaffolded plan for the student's learning from the start of the unit, when you will mentor and guide them more, to the end when they should be able to show more autonomy on the topics. If you will expect students to learn to use and apply a new tool, then write specific step-by-step instructions for the use of tool, and provide an example of how learners will be expected to apply the tool autonomously by the end of the unit.

RECOMMENDED RESOURCES

Innosight Institute, now called the Clayton Christensen Institute, on Blended Learning: http://w ww.c hris tens enin stit ute. org/
References
Bonk, C. J., Graham, C. R. (2006). The handbook of blended learning: Global perspectives, local designs. Pfeiffer essential resources for training and HR professionals. San Francisco: Pfeiffer.

Cavanaugh, C., & Hargis, J. (2010). Redefining school from site to service: Learning in and from K-12 online education. Distance Learning 7(2), 1-5.

Fisher, D., & Frey, N. (2008). Better learning through structured teaching: A framework for the gradual release of responsibility. Association for Supervision & Curriculum Development.

Wang, F. L., Fong, J., & Kwan, R. (2010). Handbook of research on hybrid learning models: Advanced tools, technologies, and applications. Hershey, PA: Information Science Reference.

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This chapter covers the basic premise and definitions of blended learning, including a review of some key concepts and design considerations related to blended learning design, the importance of designing for peer-to-peer interactions and connections. After reading and reviewing this chapter, learners should be able to: Understand blended-learning concepts, a design framework, and strategies.

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Cite this guide: Armstrong, P. (2010). Bloom's Taxonomy. Vanderbilt University Center for Teaching. Retrieved [todaysdate] from https://cft.vanderbilt.edu/guides-sub-pages/blooms-taxonomy/.

Background Information | The Original Taxonomy | The Revised Taxonomy | Why Use Bloom's Taxonomy? | Further Information

The above graphic is released under a Creative Commons Attribution license. You're free to share, reproduce, or otherwise use it, as long as you attribute it to the Vanderbilt University Center for Teaching. For a higher resolution version, visit our Flickr account and look for the "Download this photo" icon.

Background Information

In 1956, Benjamin Bloom with collaborators Max Englehart, Edward Furst, Walter Hill, and David Krathwohl published a framework for categorizing educational goals: Taxonomy of Educational Objectives. Familiarly known as Bloom's Taxonomy, this framework has been applied by generations of K-12 teachers and college instructors in their teaching.

The framework elaborated by Bloom and his collaborators consisted of six major categories: Knowledge, Comprehension, Application, Analysis, Synthesis, and Evaluation. The categories after Knowledge were presented as "skills and abilities," with the understanding that knowledge was the necessary precondition for putting these skills and abilities into practice.

While each category contained subcategories, all lying along a continuum from simple to complex and concrete to abstract, the taxonomy is popularly remembered according to the six main categories.

The Original Taxonomy (1956)

Here are the authors' brief explanations of these main categories in from the appendix of Taxonomy of Educational Objectives ( Handbook One, pp. 201-207):

Knowledge "involves the recall of specifics and universals, the recall of methods and processes, or the recall of a pattern, structure, or setting."

Comprehension "refers to a type of understanding or apprehension such that the individual knows what is being communicated and can make use of the material or idea being communicated without necessarily relating it to other material or seeing its fullest implications."

Application refers to the "use of abstractions in particular and concrete situations."

Analysis represents the "breakdown of a communication into its constituent elements or parts such that the relative hierarchy of ideas is made clear and/or the relations between ideas expressed are made explicit."

Synthesis involves the "putting together of elements and parts so as to form a whole."

Evaluation engenders "judgments about the value of material and methods for given purposes."

The 1984 edition of Handbook One is available in the CFT Library in Calhoun 116. See its ACORN record for call number and availability.

Barbara Gross Davis, in the "Asking Questions" chapter of Tools for Teaching, also provides examples of questions corresponding to the six categories. This chapter is not available in the online version of the book, but Tools for Teaching is available in the CFT Library. See its ACORN record for call number and availability.

The Revised Taxonomy (2001)

A group of cognitive psychologists, curriculum theorists and instructional researchers, and testing and assessment specialists published in 2001 a revision of Bloom's Taxonomy with the title A Taxonomy for Teaching, Learning, and Assessment. This title draws attention away from the somewhat static notion of "educational objectives" (in Bloom's original title) and points to a more dynamic conception of classification.

The authors of the revised taxonomy underscore this dynamism, using verbs and gerunds to label their categories and subcategories (rather than the nouns of the original taxonomy). These "action words" describe the cognitive processes by which thinkers encounter and work with knowledge:

Remember

Understand

Interpreting

Exemplifying

Classifying

Summarizing

Inferring

Comparing

Explaining

Apply

Analyze

Differentiating

Organizing

Attributing

Evaluate

Create

In the revised taxonomy, knowledge is at the basis of these six cognitive processes, but its authors created a separate taxonomy of the types of knowledge used in cognition:

Factual Knowledge

Knowledge of terminology

Knowledge of specific details and elements

Conceptual Knowledge

Knowledge of classifications and categories

Knowledge of principles and generalizations

Knowledge of theories, models, and structures

Procedural Knowledge

Knowledge of subject-specific skills and algorithms

Knowledge of subject-specific techniques and methods

Knowledge of criteria for determining when to use appropriate procedures

Metacognitive Knowledge

Strategic Knowledge

Knowledge about cognitive tasks, including appropriate contextual and conditional knowledge

Self-knowledge

Mary Forehand from the University of Georgia provides a guide to the revised version giving a brief summary of the revised taxonomy and a helpful table of the six cognitive processes and four types of knowledge.

Why Use Bloom's Taxonomy?

The authors of the revised taxonomy suggest a multi-layered answer to this question, to which the author of this teaching guide has added some clarifying points:

1. Objectives (learning goals) are important to establish in a pedagogical interchange so that teachers and students alike understand the purpose of that interchange.

2. Organizing objectives helps to clarify objectives for themselves and for students.

3. Having an organized set of objectives helps teachers to:

"plan and deliver appropriate instruction";

"design valid assessment tasks and strategies";and

"ensure that instruction and assessment are aligned with the objectives."

Citations are from A Taxonomy for Learning, Teaching, and Assessing: A Revision of Bloom's Taxonomy of Educational Objectives.

Further Information

Section III of A Taxonomy for Learning, Teaching, and Assessing: A Revision of Bloom's Taxonomy of Educational Objectives, entitled "The Taxonomy in Use," provides over 150 pages of examples of applications of the taxonomy. Although these examples are from the K-12 setting, they are easily adaptable to the university setting.

Section IV, "The Taxonomy in Perspective," provides information about 19 alternative frameworks to Bloom's Taxonomy, and discusses the relationship of these alternative frameworks to the revised Bloom's Taxonomy.

This teaching guide is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.

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by Patricia Armstrong Print Version Cite this guide: Armstrong, P. (2010). Bloom's Taxonomy. Vanderbilt University Center for Teaching. Retrieved [todaysdate] from https://cft.vanderbilt.edu/guides-sub-pages/blooms-taxonomy/. Background Information | The Original Taxonomy | The Revised Taxonomy | Why Use Bloom's Taxonomy? | Further Information The above graphic is released under a Creative Commons Attribution license.

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Chi è e cosa fa l'Editor?

L'editor è un professionista del mondo editoriale. Rappresenta il primo filtro tra gli autori, che propongono le proprie opere (narrativa, poesia, saggistica, giornalismo, contenuti web) per la pubblicazione, e le case editrici (o anche le redazioni di giornali, riviste e siti internet), che pubblicano queste opere. Compito dell'editor è quello di controllare e rivedere il testo curandone la correttezza, la chiarezza e la coerenza stilistica e formale.

Può configurarsi come:

un dipendente delle case editrici

un freelance

un dipendente o titolare di un'agenzia editoriale (ossia un'agenzia indipendente, non legata a una sola casa editrice, che si occupa di promuovere e correggere le opere per conto degli autori)

Il lavoro dell'editor precede la fase di stampa delle opere editoriali.

Di cosa si occupa l'Editor?

In prima battuta, l'editor si occupa di leggere con attenzione le opere che gli autori sottopongono alle case editrici. Poi, in base alle tendenze che animano il mercato editoriale e in base alla strategia della casa editrice o dell'agenzia per cui lavora (o anche delle redazioni di giornali, riviste e siti internet), giudica se sono o meno pubblicabili, assolvendo così a una funzione di scouting.

Una volta che l'autore e la casa editrice hanno stipulato un accordo di pubblicazione, l'editor si occupa di proporre all'autore eventuali modifiche o revisioni da apportare al testo.

Per quanto riguarda le sue mansioni, l'editor ha cinque diversi profili:

come revisore, propone all'autore correzioni che riguardano il merito, i contenuti, la prosa e lo stile comunicativo dell'opera (qui ha luogo la vera e propria attività di editing)

come revisore delle traduzioni, controlla che le traduzioni di testi da altre lingue all'italiano non contengano errori (in questo caso si interfaccia con il traduttore e non con l'autore di un testo)

come correttore di bozze, controlla che in un'opera non vi siano errori di battitura

come impaginatore, l'editor mette a norma il testo prima della stampa (secondo le indicazioni della casa editrice)

come produttore di testi, l'editor si occupa di redigere testi per le case editrici o per committenti esterni (per esempio quarte di copertina, comunicati da affidare agli uffici stampa, depliant, profili biografici degli autori, contenuti per siti internet ecc.)

Una casa editrice, un'agenzia editoriale o la redazione di una rivista o di un sito internet possono avere quattro diversi dipendenti o collaboratori che si occupano rispettivamente delle mansioni appena elencate, oppure possono averne anche uno soltanto che si occupi di tutte.

Qual è il percorso formativo per diventare Editor?

Anche in ragione della sua giovane vita nel panorama del lavoro italiano, la figura dell'editor non ha formalmente bisogno di uno specifico titolo di studi. Per svolgere la professione, è tuttavia consigliabile aver frequentato un corso di studi in:

Letteratura italiana

Lingue e letterature straniere

Comunicazione

Editoria

Scienza dell'Informazione

Un editor deve comunque possedere:

approfondite nozioni di lingua italiana scritta (punteggiatura, grammatica, sintassi, ecc.)

elevata dimestichezza con software di scrittura e, nel caso dell'impaginatore, di impaginazione

ottima conoscenza della lingua straniera di origine del testo da pubblicare, nel caso del revisore delle traduzioni

consapevolezza delle caratteristiche del panorama editoriale

Inoltre, un editor dipendente di una casa editrice che si occupa di pubblicazioni scientifiche (per esempio in ambito medico, farmaceutico, navale ecc.) deve avere le giuste nozioni della materia di riferimento.

Esistono diversi Master e Corsi che offrono una formazione adeguata per diventare editor, alcuni vengono organizzati direttamente dalle case editrici, altri in collaborazione tra Università e case editrici.

Quali sono i dati sull'occupazione degli Editor?

Il comparto dell'editoria è in crescita come testimoniato dal report del 2016 sullo stato del settore stilato dall' Associazione Italiana Editori. Non è però possibile stabilire quali siano le previsioni di assunzione in questo settore.

Per quanto riguarda le retribuzioni, non esistono tariffari ufficialmente condivisi che regolamentano l'attività dell'editor secondo i compensi percepiti. Si può tuttavia riassumere con la seguente tabella un'indicazione delle retribuzioni spettanti agli editor, incrociando le attività proprie dei diversi profili di editor e l'unità di misura standard dell'editoria: la cartella editoriale, ossia un foglio di testo scritto di 1.800/2.000 battute o caratteri (spazi compresi).

Chi è e cosa fa l'Editor?

L'editor è un professionista del mondo editoriale. Rappresenta il primo filtro tra gli autori, che propongono le proprie opere (narrativa, poesia, saggistica, giornalismo, contenuti web) per la pubblicazione, e le case editrici (o anche le redazioni di giornali, riviste e siti internet), che pubblicano queste opere. Compito dell'editor è quello di controllare e rivedere il testo curandone la correttezza, la chiarezza e la coerenza stilistica e formale.

Può configurarsi come:

un dipendente delle case editrici

un freelance

un dipendente o titolare di un'agenzia editoriale (ossia un'agenzia indipendente, non legata a una sola casa editrice, che si occupa di promuovere e correggere le opere per conto degli autori)

Il lavoro dell'editor precede la fase di stampa delle opere editoriali.

Di cosa si occupa l'Editor?

In prima battuta, l'editor si occupa di leggere con attenzione le opere che gli autori sottopongono alle case editrici. Poi, in base alle tendenze che animano il mercato editoriale e in base alla strategia della casa editrice o dell'agenzia per cui lavora (o anche delle redazioni di giornali, riviste e siti internet), giudica se sono o meno pubblicabili, assolvendo così a una funzione di scouting.

Una volta che l'autore e la casa editrice hanno stipulato un accordo di pubblicazione, l'editor si occupa di proporre all'autore eventuali modifiche o revisioni da apportare al testo.

Per quanto riguarda le sue mansioni, l'editor ha cinque diversi profili:

come revisore, propone all'autore correzioni che riguardano il merito, i contenuti, la prosa e lo stile comunicativo dell'opera (qui ha luogo la vera e propria attività di editing)

come revisore delle traduzioni, controlla che le traduzioni di testi da altre lingue all'italiano non contengano errori (in questo caso si interfaccia con il traduttore e non con l'autore di un testo)

come correttore di bozze, controlla che in un'opera non vi siano errori di battitura

come impaginatore, l'editor mette a norma il testo prima della stampa (secondo le indicazioni della casa editrice)

come produttore di testi, l'editor si occupa di redigere testi per le case editrici o per committenti esterni (per esempio quarte di copertina, comunicati da affidare agli uffici stampa, depliant, profili biografici degli autori, contenuti per siti internet ecc.)

Una casa editrice, un'agenzia editoriale o la redazione di una rivista o di un sito internet possono avere quattro diversi dipendenti o collaboratori che si occupano rispettivamente delle mansioni appena elencate, oppure possono averne anche uno soltanto che si occupi di tutte.

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L'editor è un professionista del mondo editoriale. Rappresenta il primo filtro tra gli autori, che propongono le proprie opere (narrativa, poesia, saggistica, giornalismo, contenuti web) per la pubblicazione, e le case editrici (o anche le redazioni di giornali, riviste e siti internet), che pubblicano queste opere.

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Il mestiere dell'instructional designer. Progettare e sviluppare la formazione on-line

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Il presente volume fornisce una descrizione pratica delle attività, dei metodi e delle conoscenze tipiche della giovane professione dell'instructional designer, inteso come progettista di percorsi formativi online. Il saggio, dopo una breve introduzione sulla storia e sui principali modelli di instructional system design, approfondisce l'esame di uno di essi, il modello ADDIE, illustrandone nel dettaglio tutte le fasi, dall'analisi dei contenuti alla valutazione. Per ogni fase sono forniti i modelli operativi da utilizzare e sono mostrati esempi pratici che guideranno alla comprensione dell'intero processo. Il lettore apprenderà le logiche, i metodi e le tecniche per passare da un contenuto predefinito a una lezione multimediale e sarà in grado di comprenderne la funzione e l'importanza nell'ambito dello sviluppo di progetti formativi in elearning.

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Il mestiere dell'instructional designer. Progettare e sviluppare la formazione on-line

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Il presente volume fornisce una descrizione pratica delle attività, dei metodi e delle conoscenze tipiche della giovane professione dell'instructional designer, inteso come progettista di percorsi formativi online. Il saggio, dopo una breve introduzione sulla storia e sui principali modelli di instructional system design, approfondisce l'esame di uno di essi, il modello ADDIE, illustrandone nel dettaglio tutte le fasi, dall'analisi dei contenuti alla valutazione.

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Information Architecture: Organizing Information for Accessibility

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Imagine you were dropped in a strange location without a proper map. The next step might not be obvious because, chances are, there isn't a clear path. If this happened today, you would most likely pull out your phone to get directions from a mapping app. In our modern world, we are, more often than not, reliant on technology to do the heavy lifting of problem-solving.

Ever since Google made finding an answer only a few clicks away, it's been easy to forget that in order for information to be accessible to us, it must first be organized in a way that makes sense. When information is sorted, organized, and labeled, it becomes a map. By definition, maps are diagrammatic representations of relationships between things. Whether physical or digital, good maps allow people to navigate efficiently and with clarity through any environment.

Information architecture (IA) is exactly what it sounds like: how information is structured, from the foundation to the footnotes. Richard Saul Wurman, the founder of modern IA, believed that how information was presented was oftentimes more important than the information itself. While the process of defining information structures isn't confined to the digital spaces we inhabit, the fluid nature of the internet requires us to think deeper about how different "knowledge nodes" connect. Let's break down why that is.

In the digital world, information can be structured (and stored) in many different ways, like spreadsheets, sitemaps, content schedules, and databases. In the context of user experience (UX) design, the deliverables designers use to communicate information is dependent on the context of use. Designers often use IA to illuminate what content or information is mission-critical, where it lives in the system, and how it's connected.

For a simple company website, a designer might first build a site map to communicate (to the internal team and potentially to the client) and confirm what static pages are necessary, what the information hierarchy is for content, and what information lives in the different global elements (e.g., the top navigation versus the footer).

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Information Architecture: Organizing Information for Accessibility -

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Imagine you were dropped in a strange location without a proper map. The next step might not be obvious because, chances are, there isn't a clear path. If this happened today, you would most likely pull out your phone to get directions from a mapping app.

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Web Based Training: processi di progettazione e sviluppo

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Alessandro Baricco - The Game

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The Game, Alessandro Baricco. Giulio Einaudi editore - Stile libero Big

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The Game. Quella che stiamo vivendo non è solo una rivoluzionetecnologica fatta di nuovi oggetti, ma il risultatodi un'insurrezione mentale. Chi l'ha innescata- dai pionieri di Internet all'inventore dell'iPhone -non aveva in mente un progetto preciso se non questo,affascinante e selvaggio: rendere impossibilela ripetizione di una tragedia come quelladel Novecento.

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Quadro europeo per la competenza digitale degli educatori: DigCompEdu

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European Framework for the Digital Competence of Educators: DigCompEdu | Semantic Scholar

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As the teaching professions face rapidly changing demands, educators require an increasingly broad and more sophisticated set of competences than before. In particular the ubiquity of digital devices and the duty to help students become digitally competent requires educators to develop their own digital competence.

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Quadro Regionale degli Standard Professionali della Lombardia