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Critical Pedagogy, Learning Design, Social Justice

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Annotate the web, with anyone, anywhere. We're a nonprofit on a mission to bring an open conversation over the whole web. Use Hypothesis right now to hold discussions, read socially, organize your research, and take personal notes. Get Started or see how it works. See

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From the Authors in the West Virginia University Press Teaching & Learning Series

Pedagogies of Care

Open Resources for Student-Centered & Adaptive Strategies in the New Higher-Ed Landscape

ABOUT THE COLLECTION

The power of educational development lies in a single thread-one specific message-that runs through our entire enterprise. It is simply this:

You are not alone.

Pedagogies of Care: Open Resources for Student-Centered & Adaptive Strategies in the New Higher-Ed Landscape offers practical and engaging advice about what "next" should look like across higher education, from sixteen current and forthcoming authors in the Teaching and Learning in Higher Education book series from West Virginia University Press.

Collection editors Victoria Mondelli and Thomas J. Tobin note that the resources in Pedagogies of Care take many forms: "Our contributors created videos, audio podcasts, interviews, infographics, and articles. All are underpinned by a student-centered, evidence-based ethos."

We welcome you to use these resources in your own teaching preparations, in educational development with your faculty colleagues, in discussion groups-however they can be useful for you. Our aim is to help facilitate successful teaching and learning in a time of disruption and hardship.

Much about the future is uncertain, so let's make ready: rally toward radical hope, evolve our practices, and meet new possibilities for growth and well-being.

Together.

TABLE OF CONTENTS

TEACHING

COLLABORATIVE PRACTICES

assessment

contributors

JOe Bisz

Joe Bisz is a national instructional speaker, educational games designer, creative writer, and English professor at the City University of New York.

His book The Allure of Play: The Educator's Guide to Implementing Learning Activities and Games is forthcoming from West Virginia University Press.

See joebisz.com to learn more.

WVU PRESS

All of the contibutors to the Pedagogies of Care collection are authors in the Teaching & Learning in Higher Education book series from West Virginia University Press. We are grateful to series editor James M. Lang and WVU Press Director Derek Krissoff for permission to share elements from our existing and forthcoming books in the Pedagogies of Care collection.

​

To learn more about WVU Press, discover the Teaching & Learning book series, and engage with our books and authors, please visit wvupress.com.

Oh, and please support your local and independent bookstores, y'all. Where you can, consider buying directly from the press or your local shops.

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Pedagogies of Care: Open Resources for Student-Centered and Adaptive Strategies in the New Higher Ed Landscape

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The University of Edinburgh is a charitable body, registered in Scotland, with registration number SC005336, VAT Registration Number GB 592 9507 00, and is acknowledged by the UK authorities as a " Recognised body " which has been granted degree awarding powers.

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https://www.inclusiveweb.net/abc-learning-design/abc-ld-online-in-excel/

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Twitch is an interactive livestreaming service for content spanning gaming, entertainment, sports, music, and more. There's something for everyone on Twitch.

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Twitch is an interactive livestreaming service for content spanning gaming, entertainment, sports, music, and more. There's something for everyone on Twitch.

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Propositions for developing a collaborative art space in the intersection between art school and community

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Capture, organize, and tackle your to-dos from anywhere | Trello

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Make the impossible, possible with Trello. The ultimate tool to boost your productivity. Escape the clutter and chaos—stay efficient with Inbox, Boards, and Planner from anywhere, even on mobile.

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Hopin | Technology That Connects People, Builds Community, and Powers Business

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See how Hopin products can work for you by joining the millions of people already using StreamYard, Session, Streamable, Hopin Events, and more

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Overview of connectivism - Dr George Siemens

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YouTube

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Stephen Downes An Introduction to Connective Knowledge

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Low-Residency Art Programmes

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A low-residency program (or limited residency program) is a form of education, normally at the university level, which involves some amount of distance education and brief on-campus or specific-site residencies-residencies may be one weekend or several weeks. These programs are most frequently offered by colleges and universities that also teach standard full-time courses on campus. There are numerous Master's degree programs in a wide range of content areas; one of the most popular limited residency degree programs is the Master of Fine Arts in creative writing. The first such program was developed by Evalyn Bates and launched in 1963 at Goddard College in Plainfield, Vermont.

There are low-residency MFA programs in creative writing, visual arts, photography, and painting. Other graduate programs that can earn a student a degree include Master of Arts, Master of Science, Master of Business Administration, and Master of Accounting. A few schools offer limited residency undergraduate options: Goddard College, Prescott College, Lesley University, New Hampshire Institute of Art, and Union Institute & University.

Programs vary, but an intensive, low-residency model requires students to come to campus every six months for 1-2 weeks, during which time students engage in a variety of activities and lectures during the day, and create detailed study plans. During the non-residency semester periods, students study independently, sending in "packets" to their faculty mentors every month or so. The content of the packets varies with each individual, but focuses on research, writing, and reflection related to each student's individualized study plan. A few schools, such as Western State Colorado University, actually conduct live online classes via Skype each week during the non-residency periods as well as having instructors reading students' work and provide written feedback weekly.

List of colleges with low-residency programs

Antioch University Los Angeles, MFA in Creative Writing

Antioch University, Ph.D. in Leadership and Change

Arcadia University, MFA in Creative Writing

Ashland University

MFA Poetry

MFA Creative Nonfiction

MFA Fiction

MFA Interdisciplinary

Augsburg University, MFA in Creative Writing

Bastyr University MS in Midwifery

Bennington College

MFA in Writing

MA in Teaching a Second Language (MATSL)

Boston Architectural College

Burlington College, Independent Degree Program

California College of the Arts, MFA in Comics

Carlow University, MFA in Creative writing

Chatham University, MFA creative writing

College of Saint Elizabeth (Morristown, New Jersey), M.A. in Theology

Converse College (Spartanburg, South Carolina) MFA in Creative Writing

Drew University (Madison, New Jersey), MFA in Poetry

Eastern Kentucky University (Richmond, Kentucky) MFA in Creative Writing

Fairleigh Dickinson University, MFA in Creative Writing

Fairfield University, MFA in Creative Writing

Goddard College

MFA Creative Writing

MFA Interdisciplinary Arts

BFA Creative Writing

MA & BA Individualized Studies

MA & BA Education

MA & BA Psychology & Counseling

BA & MA Health Arts & Sciences

BA in Sustainability

Goucher College

Hamline University, MFA in Writing for Children and Young Adults

Jacksonville University

Lesley University

Maine College of Art, MFA in Studio Arts

Marylhurst University (Portland, Oregon), B.A. in English Literature & New Media

Marywood University, MFA in Graphic Design or Illustration

Massachusetts College of Art and Design, MFA in Studio Arts

Mills College, MFA in Translation

Miami University, [1]

MFA in Fiction

MFA in Creative Nonfiction

MFA in Poetry

Murray State University, MFA in Creative Writing

Naropa University, MFA in Creative Writing

New England College

New Hampshire Institute of Art

Northwest Institute of Literary Arts, program now terminated

Oklahoma City University, Red Earth MFA in Creative Writing

Oregon State University Cascades, MFA in Creative Writing

Pacific Lutheran University, Rainier Writing Workshop

Pacific Northwest College of Art, MFA in Visual Studies

Pacific University, MFA in Creative Writing

Pennsylvania Academy of the Fine Arts

Pine Manor College, Solstice Low-Residency MFA Program

MFA in Fiction Writing

MFA in Creative nonfiction

MFA in Poetry

MFA in Writing for Children & Young Adults

MFA in Comics & Graphic Narratives

Applied Track in Pedagogy

Prescott College

Ph.D. in Sustainability Education

Master of Arts in Humanities

Master of Arts in Environmental Studies

Master of Arts in Adventure Education

Master of Arts in Counseling Psychology

Master of Arts in Education

Bachelor of Arts in Education

Bachelor of Arts in Human Development

Bachelor of Arts in Arts and Culture

Bachelor of Arts in Sustainability and Environmental Studies

Queens University of Charlotte

Reinhardt University, MFA in Creative Writing

School of the Art Institute of Chicago

MFA in Studio

MFA in Writing

Seattle Pacific University, MFA in creative writing

Seton Hill University, MFA in Writing of Popular Fiction

Sierra Nevada College

Skidmore College, Master of Arts in Liberal Studies (MALS)

Sofia University (formerly the Institute of Transpersonal Psychology)

MA in Spiritual Guidance

MA in Women's Spirituality

MA in Counseling Psychology

Southern New Hampshire University, Low-Residency MFA in Fiction and Nonfiction

Spalding University, MFA in Creative Writing

SIT Graduate Institute, Masters in International Education

St. Edwards University in Austin, TX

Stephens College

Transart Institute

MFA in Creative Practice (Studio)

PhD in Studio Art (Practice-based PhD)

University of Alaska Anchorage, MFA in creative writing

University of California, Riverside: Palm Desert Graduate Center, MFA in creative writing

University of Hartford

MFA Photography

MFA Illustration

MFA Interdisciplinary

University of Illinois: MS in Library and Information Science

University of Nebraska, MFA in creative writing

University of New Orleans, creative writing

University of Pennsylvania, MA in Applied Positive Psychology

University of Southern Maine, Stonecoast MFA Program in Creative Writing

University of Tampa, MFA in Creative Writing

University of Texas-El Paso, MFA in Creative Writing

Vermont College of Fine Arts

MFA in Writing

MFA in Writing for Children and Young Adults

MFA in Visual Arts

MFA in Graphic Design

MFA in Music Composition

Western New England University, MFA in Creative Writing

Warren Wilson College MFA Program for Writers, MFA in Creative Writing

West Virginia Wesleyan College, MFA in Creative Writing

Western Connecticut State University, MFA in Creative and Professional Writing

Western State Colorado University

MFA in Genre Fiction

MFA in Poetry

MFA in Screen and Television Writing

MFA in Publishing

Wilkes University, MFA in Creative Writing

ArtEZ University of Arts (Arnhem, Netherlands) MA Theatre Practices (English speaking Master's Degree, including Choreography, Performance Art, Live Art, Theatre, Dramaturgy and Dance) [2]

Bath Spa University (Bath, England) PhD in Creative Writing [3]

European Graduate School (Saas-Fee, Switzerland, and Valletta, Malta), MA and PhD

European Humanities University (Lithuania)

Freie Universität (Berlin, Germany) MA in Visual and Media Anthropology [4]

Kingston University, London (Kingston upon Thames, England), MFA/MA Low Residency in Creative Writing

University of Oxford (Oxford, England) MSt in Creative Writing [5]

References

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A low-residency program (or limited residency program) is a form of education, normally at the university level, which involves some amount of distance education and brief on-campus or specific-site residencies-residencies may be one weekend or several weeks. These programs are most frequently offered by colleges and universities that also teach standard full-time courses on campus.

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With the next MFA application season just around the corner, it's time to start seriously thinking about programs. Writers-are you considering the low-residency option? For those of us anchored into a job, with family, or simply unable to relocate, low-res programs are proving to be a great opportunity to earn your degree.

It's fair to say that a low-res program may prepare you more quickly for the true world of writing-one in which your writing time must be structured around your job, family, and other commitments. There is no bubble here. Although you'll meet for residencies (usually held twice a year), for the most part, you're working on your own.

That being said, one of the biggest benefits to a low-res program is close mentorship. The faculty to student ratio is 5:1 or less for most programs. Mentors create customized reading lists for each student and critique larger volumes of work monthly. So despite the lack of time in physical classrooms, you still receive an extensive amount of support.

Several low-res programs are also now offering a dual-genre degree option for students who want to explore more than one interest. And for those of you who love to travel-many programs provide residencies abroad. You can gather stamps on your passport while participating in intensive workshops in countries such as Spain, Italy, or Slovenia.

So you're interested. How do you choose which program to go for? I've listed some programs below that caught my eye for at least one reason, if not more-whether it be affordability, faculty, or the opportunity for travel or dual-genre studies. Enjoy!

by Julia Mucha

Location: Annandale-on-Hudson, New York

Faculty: Renee Gladman, David Levi Strauss, and others.

Annual Tuition: $16,470

Bard's tuition isn't the lowest, but it's worth mentioning this program because over 90% of their students receive at least one type of grant aid (fellowship, scholarship, or both). Their residency is eight weeks and held every summer.

Location: Bennington, Vermont

Faculty: Amy Hempel, Benjamin Anastas, April Bernard, Susan Cheever, David Gates, Major Jackson, Alice Mattison, and others.

Annual Tuition: $19,900

Bennington is consistently ranked as one of the top low-residency programs and has an incredible faculty. They also offer dual-genre degrees. Grants are awarded to exceptional applicants.

Location: Allentown, Pennsylvania

Faculty: Keija Parssinen, Alison Wellford, Robert Antoni Dinaw Mengestu, and others.

Annual Tuition: 12,150 plus $2,750 for each residency (which includes accommodations and activity expenses).

This program offers dual-genre studies. The three required residencies, which are fifteen days each, are held each summer in Europe. Location rotates between Barcelona, Dublin, and Vienna, so you actually won't be spending much if any time at their home campus.

Location: Sante Fe, New Mexico

Faculty: Jon Davis, Sherman Alexie, Melissa Febos, Pam Houston, Lidia Yuknavitch, Santee Frazier, and others.

Annual Tuition: $12,000

While this program is open to everyone, it does maintain a Native American and First Nations emphasis. They boast an incredible faculty and astoundingly low tuition.

Location: Cambridge, Massachusetts

Faculty: Tony Eprile, Laurie Foos, Rachel Kadish, Hester Kaplan, Michael Lowenthal, and others.

Annual Tuition: $24,000

Lesley offers several merit scholarships that cover up to $15,000 of the total cost. They also highlight interdisciplinary studies, and students gain experience in teaching, publishing, literary non-profits, and community writing groups. Another plus? Each summer they offer a ten-day residency in Wales.

Location: St. Charles, Missouri

Faculty: Tony D'Souza, Wm. Anthony Connolly, Zachary Tyler Vickers, Nicole McInnes, Kali VanBaale, and others.

Annual Tuition: $10,872

This school offers a half-tuition waiver to students who are at least sixty years old. Primary and secondary education teachers also receive a discounted tuition. You can meet for the residency either at their campus or choose to complete the program fully online.

Location: New Orleans, Louisiana

Faculty: Fredrick Barton, Barb Johnson, Joanna Leake, and others.

Annual Tuition: $12,500

This program offers a residency in Europe each summer for one month. In the past, residencies have taken place in Ireland, Scotland, and Italy. The University of New Orleans has consistently been ranked as one of the most affordable schools in the country.

Location: Sewanee, Tennessee

Faculty: Jamie Quatro, Michael Griffith, John Ernest, Nickole Brown, and others.

Annual Tuition: $5,707

This program has an interesting model-you take a combination of writing workshops and classes in literary criticism and history. The residencies are held each summer, and the degree takes four to five summer sessions to complete. Since the program is spread out over four to five years, the tuition is remarkably affordable.

Location: Portland, Oregon

Faculty: Chris Abani, Steve Amick, Bonnie Jo Campbell, Claire Davis, Dorianne Laux, and others.

Annual Tuition: $17,646

This prestigious school offers two Pearl Scholarships worth $7,500 to students entering their MFA program. Partial, merit-based scholarships are available as well.

Location: Montpelier, Vermont

Faculty: Trinie Dalton, Matthew Dickman, Abby Frucht, Connie May Fowler, and others.

Annual Tuition: $24,000

For those of you who love to travel, VCFA offers residencies abroad in Slovenia and Puerto Rico. Dual-genre and translation studies are also available. There are multiple scholarship options available to help offset the tuition.

Location: Asheville, North Carolina

Faculty: Andrea Barrett, Robert Boswell, Karen Brennan, Liam Callanan, Christopher Castellani, and others.

Annual Tuition: $17,350

As one of the older and more prestigious programs on this list, tuition is higher. However, multiple scholarships and grants available that can cover up to fifty percent of tuition. All financial aid is based on need.

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With the next MFA application season just around the corner, it's time to start seriously thinking about programs. Writers-are you considering the low-residency option? For those of us anchored into a job, with family, or simply unable to relocate, low-res...

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UoE Resource Lists desgined for Jigsaw Groups

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The University of Edinburgh is a charitable body, registered in Scotland, with registration number SC005336, VAT Registration Number GB 592 9507 00, and is acknowledged by the UK authorities as a " Recognised body " which has been granted degree awarding powers.

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critic of edutech

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"Things are fucked up and bullshit." That's what the sign said at Occupy Wall Street. Let's not forget that. And it's not just that things are bad now or things were bad then. We have to remember that folks resisted. Folks protested. Change happens. We needn't give up the future to the corporate elites. We needn't hand over education to their techno-fantasies. We need to remember. And from memory, we can draw hope. This was sort of the gist of my keynote at Digifest 2022.

Listen up. The school bell is not a technology adopted to train students to become factory workers, ok? Stop telling these ridiculous tales about the history of education. Or alternately, keep it up, and I'll just keep writing these essays about the history of school technologies and screaming into the void.

Hack Education is back from hiatus. Sort of. The focus of this site will continue to be "the history of the future of education," with monthly essays on various technologies, and the narratives that accompany them, that shape how we think about teaching and learning.

· Books · Latest Book:

"There must be an industrial revolution in education," psychologist Sidney Pressey wrote in 1933, "in which educational science and the ingenuity of educational technology combine to modernize the grossly inefficient and clumsy procedures of conventional education."

We still hear claims like this today: ed-tech is poised to bring science and efficiency to schools. Teaching machines will individualize instruction, allowing students to move at their own pace through their lessons and freeing teachers from drudgery so she may focus, as Pressey argued, on more important work "developing in her pupils fine enthusiasms, clear thinking, and high ideals."

" Teaching Machines, is a vital cultural history of our desire for a technical solution to the fundamentally social problem of how to make education work for all families. Watters has written the rare book that is necessary, important, and readable." -- Tressie McMillan Cottom, Associate Professor, University of North Carolina at Chapel Hill; author of Thick: And Other Essays

"This is a landmark book." -- John Warner, Inside Higher Ed

Here. I have chronicled for you a decade of ed-tech failures and fuck-ups and flawed ideas. Oh yes, I'm sure you can come up with some rousing successes and some triumphant moments that made you thrilled about the 2010s and that give you hope for "the future of education." Good for you. But that's not my job. (And honestly, it's probably not your job either.) .

This talk was delivered at OEB 2019 in Berlin. I wanted to call out the misinformation and disinformation repeated by those who get on stage at ed-tech events (as well as those who uncritically accept the fairy tales as truth). If we prance delightedly towards a dystopian ed-tech future, it is in part because of the storytellers in ed-tech who peddle this bullshit.

· Why Pigeons?:

What is up with all the pigeons? The bird appears across all the various Hack Education projects as it exemplifies how education technology has viewed learning and learners. In part, it's a reference to the work of Edward Thorndike and B. F. Skinner and their development of multiple choice tests, teaching machines, and behavioral (educational) psychology....
Image credits: Bryan Mathers

"Things are fucked up and bullshit." That's what the sign said at Occupy Wall Street. Let's not forget that. And it's not just that things are bad now or things were bad then. We have to remember that folks resisted. Folks protested. Change happens. We needn't give up the future to the corporate elites. We needn't hand over education to their techno-fantasies. We need to remember. And from memory, we can draw hope. This was sort of the gist of my keynote at Digifest 2022.

Listen up. The school bell is not a technology adopted to train students to become factory workers, ok? Stop telling these ridiculous tales about the history of education. Or alternately, keep it up, and I'll just keep writing these essays about the history of school technologies and screaming into the void.

Hack Education is back from hiatus. Sort of. The focus of this site will continue to be "the history of the future of education," with monthly essays on various technologies, and the narratives that accompany them, that shape how we think about teaching and learning.

· Books · Latest Book:

"There must be an industrial revolution in education," psychologist Sidney Pressey wrote in 1933, "in which educational science and the ingenuity of educational technology combine to modernize the grossly inefficient and clumsy procedures of conventional education."

We still hear claims like this today: ed-tech is poised to bring science and efficiency to schools. Teaching machines will individualize instruction, allowing students to move at their own pace through their lessons and freeing teachers from drudgery so she may focus, as Pressey argued, on more important work "developing in her pupils fine enthusiasms, clear thinking, and high ideals."

" Teaching Machines, is a vital cultural history of our desire for a technical solution to the fundamentally social problem of how to make education work for all families. Watters has written the rare book that is necessary, important, and readable." -- Tressie McMillan Cottom, Associate Professor, University of North Carolina at Chapel Hill; author of Thick: And Other Essays

"This is a landmark book." -- John Warner, Inside Higher Ed

Here. I have chronicled for you a decade of ed-tech failures and fuck-ups and flawed ideas. Oh yes, I'm sure you can come up with some rousing successes and some triumphant moments that made you thrilled about the 2010s and that give you hope for "the future of education." Good for you. But that's not my job. (And honestly, it's probably not your job either.) .

This talk was delivered at OEB 2019 in Berlin. I wanted to call out the misinformation and disinformation repeated by those who get on stage at ed-tech events (as well as those who uncritically accept the fairy tales as truth). If we prance delightedly towards a dystopian ed-tech future, it is in part because of the storytellers in ed-tech who peddle this bullshit.

· Why Pigeons?:

What is up with all the pigeons? The bird appears across all the various Hack Education projects as it exemplifies how education technology has viewed learning and learners. In part, it's a reference to the work of Edward Thorndike and B. F. Skinner and their development of multiple choice tests, teaching machines, and behavioral (educational) psychology....
Image credits: Bryan Mathers

Listen up. The school bell is not a technology adopted to train students to become factory workers, ok? Stop telling these ridiculous tales about the history of education. Or alternately, keep it up, and I'll just keep writing these essays about the history of school technologies and screaming into the void.

Hack Education is back from hiatus. Sort of. The focus of this site will continue to be "the history of the future of education," with monthly essays on various technologies, and the narratives that accompany them, that shape how we think about teaching and learning.

· Books · Latest Book:

"There must be an industrial revolution in education," psychologist Sidney Pressey wrote in 1933, "in which educational science and the ingenuity of educational technology combine to modernize the grossly inefficient and clumsy procedures of conventional education."

We still hear claims like this today: ed-tech is poised to bring science and efficiency to schools. Teaching machines will individualize instruction, allowing students to move at their own pace through their lessons and freeing teachers from drudgery so she may focus, as Pressey argued, on more important work "developing in her pupils fine enthusiasms, clear thinking, and high ideals."

" Teaching Machines, is a vital cultural history of our desire for a technical solution to the fundamentally social problem of how to make education work for all families. Watters has written the rare book that is necessary, important, and readable." -- Tressie McMillan Cottom, Associate Professor, University of North Carolina at Chapel Hill; author of Thick: And Other Essays

"This is a landmark book." -- John Warner, Inside Higher Ed

Here. I have chronicled for you a decade of ed-tech failures and fuck-ups and flawed ideas. Oh yes, I'm sure you can come up with some rousing successes and some triumphant moments that made you thrilled about the 2010s and that give you hope for "the future of education." Good for you. But that's not my job. (And honestly, it's probably not your job either.) .

This talk was delivered at OEB 2019 in Berlin. I wanted to call out the misinformation and disinformation repeated by those who get on stage at ed-tech events (as well as those who uncritically accept the fairy tales as truth). If we prance delightedly towards a dystopian ed-tech future, it is in part because of the storytellers in ed-tech who peddle this bullshit.

· Why Pigeons?:

What is up with all the pigeons? The bird appears across all the various Hack Education projects as it exemplifies how education technology has viewed learning and learners. In part, it's a reference to the work of Edward Thorndike and B. F. Skinner and their development of multiple choice tests, teaching machines, and behavioral (educational) psychology....
Image credits: Bryan Mathers

Hack Education is back from hiatus. Sort of. The focus of this site will continue to be "the history of the future of education," with monthly essays on various technologies, and the narratives that accompany them, that shape how we think about teaching and learning.

· Books · Latest Book:

"There must be an industrial revolution in education," psychologist Sidney Pressey wrote in 1933, "in which educational science and the ingenuity of educational technology combine to modernize the grossly inefficient and clumsy procedures of conventional education."

We still hear claims like this today: ed-tech is poised to bring science and efficiency to schools. Teaching machines will individualize instruction, allowing students to move at their own pace through their lessons and freeing teachers from drudgery so she may focus, as Pressey argued, on more important work "developing in her pupils fine enthusiasms, clear thinking, and high ideals."

" Teaching Machines, is a vital cultural history of our desire for a technical solution to the fundamentally social problem of how to make education work for all families. Watters has written the rare book that is necessary, important, and readable." -- Tressie McMillan Cottom, Associate Professor, University of North Carolina at Chapel Hill; author of Thick: And Other Essays

"This is a landmark book." -- John Warner, Inside Higher Ed

Here. I have chronicled for you a decade of ed-tech failures and fuck-ups and flawed ideas. Oh yes, I'm sure you can come up with some rousing successes and some triumphant moments that made you thrilled about the 2010s and that give you hope for "the future of education." Good for you. But that's not my job. (And honestly, it's probably not your job either.) .

This talk was delivered at OEB 2019 in Berlin. I wanted to call out the misinformation and disinformation repeated by those who get on stage at ed-tech events (as well as those who uncritically accept the fairy tales as truth). If we prance delightedly towards a dystopian ed-tech future, it is in part because of the storytellers in ed-tech who peddle this bullshit.

· Why Pigeons?:

What is up with all the pigeons? The bird appears across all the various Hack Education projects as it exemplifies how education technology has viewed learning and learners. In part, it's a reference to the work of Edward Thorndike and B. F. Skinner and their development of multiple choice tests, teaching machines, and behavioral (educational) psychology....
Image credits: Bryan Mathers

"There must be an industrial revolution in education," psychologist Sidney Pressey wrote in 1933, "in which educational science and the ingenuity of educational technology combine to modernize the grossly inefficient and clumsy procedures of conventional education."

We still hear claims like this today: ed-tech is poised to bring science and efficiency to schools. Teaching machines will individualize instruction, allowing students to move at their own pace through their lessons and freeing teachers from drudgery so she may focus, as Pressey argued, on more important work "developing in her pupils fine enthusiasms, clear thinking, and high ideals."

" Teaching Machines, is a vital cultural history of our desire for a technical solution to the fundamentally social problem of how to make education work for all families. Watters has written the rare book that is necessary, important, and readable." -- Tressie McMillan Cottom, Associate Professor, University of North Carolina at Chapel Hill; author of Thick: And Other Essays

"This is a landmark book." -- John Warner, Inside Higher Ed

Here. I have chronicled for you a decade of ed-tech failures and fuck-ups and flawed ideas. Oh yes, I'm sure you can come up with some rousing successes and some triumphant moments that made you thrilled about the 2010s and that give you hope for "the future of education." Good for you. But that's not my job. (And honestly, it's probably not your job either.) .

This talk was delivered at OEB 2019 in Berlin. I wanted to call out the misinformation and disinformation repeated by those who get on stage at ed-tech events (as well as those who uncritically accept the fairy tales as truth). If we prance delightedly towards a dystopian ed-tech future, it is in part because of the storytellers in ed-tech who peddle this bullshit.

· Why Pigeons?:

What is up with all the pigeons? The bird appears across all the various Hack Education projects as it exemplifies how education technology has viewed learning and learners. In part, it's a reference to the work of Edward Thorndike and B. F. Skinner and their development of multiple choice tests, teaching machines, and behavioral (educational) psychology....
Image credits: Bryan Mathers

Here. I have chronicled for you a decade of ed-tech failures and fuck-ups and flawed ideas. Oh yes, I'm sure you can come up with some rousing successes and some triumphant moments that made you thrilled about the 2010s and that give you hope for "the future of education." Good for you. But that's not my job. (And honestly, it's probably not your job either.) .

This talk was delivered at OEB 2019 in Berlin. I wanted to call out the misinformation and disinformation repeated by those who get on stage at ed-tech events (as well as those who uncritically accept the fairy tales as truth). If we prance delightedly towards a dystopian ed-tech future, it is in part because of the storytellers in ed-tech who peddle this bullshit.

· Why Pigeons?:

What is up with all the pigeons? The bird appears across all the various Hack Education projects as it exemplifies how education technology has viewed learning and learners. In part, it's a reference to the work of Edward Thorndike and B. F. Skinner and their development of multiple choice tests, teaching machines, and behavioral (educational) psychology....
Image credits: Bryan Mathers

This talk was delivered at OEB 2019 in Berlin. I wanted to call out the misinformation and disinformation repeated by those who get on stage at ed-tech events (as well as those who uncritically accept the fairy tales as truth). If we prance delightedly towards a dystopian ed-tech future, it is in part because of the storytellers in ed-tech who peddle this bullshit.

· Why Pigeons?:

What is up with all the pigeons? The bird appears across all the various Hack Education projects as it exemplifies how education technology has viewed learning and learners. In part, it's a reference to the work of Edward Thorndike and B. F. Skinner and their development of multiple choice tests, teaching machines, and behavioral (educational) psychology....
Image credits: Bryan Mathers

What is up with all the pigeons? The bird appears across all the various Hack Education projects as it exemplifies how education technology has viewed learning and learners. In part, it's a reference to the work of Edward Thorndike and B. F. Skinner and their development of multiple choice tests, teaching machines, and behavioral (educational) psychology....
Image credits: Bryan Mathers

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"Things are fucked up and bullshit." That's what the sign said at Occupy Wall Street. Let's not forget that. And it's not just that things are bad now or things were bad then. We have to remember that folks resisted. Folks protested. Change happens. We needn't give up the future to the corporate elites.

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Summary: Connectivism is a learning theory that explains how Internet technologies have created new opportunities for people to learn and share information across the World Wide Web and among themselves.

Originators & Proponents: George Siemens, Stephen Downes

Keywords: communication, connection, distributed cognition, distributed learning, information, Internet, knowledge sharing, links, massive open online course (MOOC), nodes, online, open educational resources (OER), social networks
Connectivism[1][2]
Connectivism is a learning theory that explains how Internet technologies have created new opportunities for people to learn and share information across the World Wide Web and among themselves. These technologies include Web browsers, email, wikis, online discussion forums, social networks, YouTube, and any other tool which enables the users to learn and share information with other people.

A key feature of connectivism is that much learning can happen across peer networks that take place online. In connectivist learning, a teacher will guide students to information and answer key questions as needed, in order to support students learning and sharing on their own. Students are also encouraged to seek out information on their own online and express what they find. A connected community around this shared information often results.

The massive open online course (MOOC) phenomenon comes from connectivist theory. In a connectivist MOOC (cMOOC), it is open to anyone who wants to enroll, it uses open software and systems across the Web to facilitate learning and sharing, it takes place primarily online, and it happens according to a specified curriculum for a designated period of time. While facilitators guide the cMOOC, its participants are largely responsible for what they learn and what and how they share it; this connected behavior largely helps create the course content.

References

1. Siemens, G. (2005). Connectivism: A learning theory for the digital age. International Journal of Instructional Technology and Distance Learning, 2(1), 3-10.

2. Downes, S. (2010). New technology supporting informal learning. Journal of Emerging Technologies in Web Intelligence, 2(1), 27-33.

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Summary: Connectivism is a learning theory that explains how Internet technologies have created new opportunities for people to learn and share information across the World Wide Web and among themselves.

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Can we share our resources?

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The University of Edinburgh is a charitable body, registered in Scotland, with registration number SC005336, VAT Registration Number GB 592 9507 00, and is acknowledged by the UK authorities as a " Recognised body " which has been granted degree awarding powers.

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CBT-style auto-ethnography

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The University of Edinburgh is a charitable body, registered in Scotland, with registration number SC005336, VAT Registration Number GB 592 9507 00, and is acknowledged by the UK authorities as a " Recognised body " which has been granted degree awarding powers.

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Table of Contents

Preface

Part 1: Introducing e-tivities

1. E-tivities for active online learning

2. E-tivities in the five stage model

3. Creating e-tivities

4. Choices: The technology spectrum

5. Deploying e-tivities: A team approach

Part II: Resources for practitioners

Ideas

1. Ideas for e-tivities

2. Creativity and e-tivities

3. Using other people's digital materials (OER's)

Designing e-tivities

4. First-time e-tivity designer

5. E-tivity exemplars (?)

6. E-tivity continuum

Structures

7. E-tivity planning

8. Building programs and processes with e-tivities

9. Time Estimates

10. Counting the delivery time

Writing Invitations

11. Correspondence Protocol

12. Learning 'Netspeak'

Development and Improvement

13. Building motivating e-tivities

14. Online emotions

15. More intelligent e-tivities

16. Disabilities and e-tivities

Participants Experience

17. Contributions

18. Patterns of participation

19. Flow and e-tivities

20. E-tivity feedback and plenaries

Carpe Diem

21. The Carpe Diem Process

22. Becoming a Carpe Diem Facilitator

23. The Carpe Diem Planning Process

24. Reality Checkers

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E-tivities: The Key to Active Online Learning

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The world of learning and teaching is at a watershed; confronted by challenges to previous educational models. One learning future lies in impactful, purposeful, active online activities, or 'e-tivities', that keep learners engaged, motivated, and participating. Grounded in the author's action

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The University of Edinburgh is a charitable body, registered in Scotland, with registration number SC005336, VAT Registration Number GB 592 9507 00, and is acknowledged by the UK authorities as a " Recognised body " which has been granted degree awarding powers.

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New York Arts Practicum is a summer arts institute where participants experientially learn to bridge their lives as art students into lives as artists in the world. The program is structured around apprenticeships with mentor artists, a critique seminar where participants produce work without access to their institutional facilities, and site visits to artist workspaces, galleries, and museums. The intensive eight-week program offers participants a structured environment to experience the challenges of life as an artist and demystifies the many ways one can be an artist today.

Mentees work in their mentor's studio two to three days per week learning through apprenticeship. By working with an artist on a day-to-day basis, participants gain insight into the working lives of artists and learn models for negotiating a creative life outside of school. Descriptions of the apprenticeships for this summer are here: http://www.artspracticum.org/practicum-descriptions/

Tuesday evening's critique seminar develops strategies for creating work without institutional studio facilities. When students graduate from school they immediately lose access to their means of production, and no one discusses strategies for working through this; critique seminar is structured around solving this problem as it applies to participants and their work. Mentors serve as guest critics and lead seminars on their work, or related topics. Last year several seminar leaders shared intimate views into their in-progress work with a focus on process. Others created specific events, such as David Horvitz's "Life Drawing" session, where the participants drew the police officers guarding Zuccotti Park.

On Fridays participants convene for site visits to artist studios, galleries, and museums. Some highlights from last year include: Brody Condon stressing the importance of finding, supporting and being supported by a community of peers; a trip to Kickstarter to discuss fundraising, grant writing, and how to communicate your work to different audiences; and a day trip to Dia:Beacon, with a swim in a secret waterfall and a barbeque with Kristin Lucas and Joe McKay, two mentor artists who live in Beacon, NY.

All meetings take place in the workspace of the artist we are meeting with. These have included studios, apartments, and offices. It is an eye-opening experience for the participants to see how many of these artists work out of their apartments. More broadly, the participants are able to see the many ways that these artists find a way through the world. They see how many different ways one can be an artist in the world, both in terms of a creative practice and practical concerns, such as money and jobs.

Inspired by Machine Project, Trade School, Pickpocket Almanack, and Carpe Diem, I started the program for two reasons: I wanted to harness the power of experiential learning I saw happening when students apprenticed in my studio, and I wanted to find a way to help students bridge the gap between life in school and life as an artist in the world.

In the summer after my second year teaching at CUNY, I brought one of my standout students into my studio to assist me. We built some websites together, and he grew enormously in the process, both in terms of his technical and artistic experience, but also his maturity as a person and a maker. It really became clear how effective this apprenticeship was when he returned to the classroom that fall: he had progressed by leaps and bounds beyond his peers. And as he raised the level of his work, his peers upped their game to strive to match his.

Prior to starting the program, I worked informally with approximately 20 such students. About half of them are my own CUNY students, while others are undergraduate and graduate students from other schools. I found that if I match a task or project to an apprentice's experience and skill set, I can produce a learning experience that far surpasses any they can achieve in a classroom. With the New York Arts Practicum, I wanted to see if I could take this individual experience and build a curriculum around it.

The other motivation for creating the program was to address the difficulty making the transition out of school into the world. I have watched undergraduate and graduate school peers, my students, and my former mentees struggle to find a path. I only made it through by a combination of chance and my ability to quickly pick up HTML at a time when that would get you a job. I wanted to find a way to structure that transition so it was less of a drop off a cliff and more of a series of leaps.

Part of that structure is discussing why they are doing what they are doing. It is a truism that only one student in any art school class will continue making work five years after graduation, but I don't think it has to be this way.[1] We don't prepare students for this transition at all. And we engender unrealistic hyper-professionalized self-expectations that they can only fail to achieve. We valorize the 1% of the ultra-successful few who magically were "picked up" by a gallery and lifted into success. The bankrupt myth of the American Dream is so pervasive that it indoctrinates art school graduates into believing they could be the one to "make it" and become the next Damian Hirst. We don't spend enough time talking about finding intrinsic rewards and motivations.

Internship has become a bit of a dirty word, and I don't like to use it. What I have been doing in my studio, and what we do in the practicum, is something different, something focused on growth and mentorship. I use the word apprenticeship to signal this as a period of work whose purpose is learning through applied work. Of course, this is the stated premise of most internships, but unfortunately most fall far from that mark.

Words go a long way towards constructing reality. In the program we use the words apprenticeship, mentor, mentee, and participant. We don't use intern, and more importantly, we don't use student. One of the main goals of the program is to enable the participants to move past the infantilization of studenthood, and into a state of self-directed life-long learning, driven by love.

There is a tuition of $2900, offset by need-based financial aid. Early on I had extensive conversations about how the program would take shape, including whether or not to charge tuition. One advisor advocated making it free. If it were free, he argued, I could get really great mentor artists involved, there would be a huge demand amongst applicants, and it would become very popular very quickly. Furthermore, not charging would clearly indicate that it was an art project. Another advisor who has a firm belief in barter and mutual aid, strongly advocated that I needed to charge tuition. She pointed out that in her experience, unpaid collaborators tend to move on to other projects within a year or two, especially those that help pay their rent. Payment is a form of showing respect for your collaborators' labor, as well as a way of ensuring the longevity of the project. This was especially important, as one of my major goals was to prove this experiment could work, which requires a few years of fine-tuning.

One thing that is important to note regarding tuition is that tuition covers the costs of running the critique seminar, site visits, and managing the program. It is important to understand participants are not "paying for an internship," nor are the mentors compensated for the time participants spend working in their studios; it is an exchange of time and labor under mutual respect.

I am regularly asked what school houses the program; those that know I teach at CUNY ask if the program is run out of CUNY. I say it is a para-institutional program, as it is not housed in any institution, but I (and many of the mentors) have institutional affiliations that lend credibility and resources to the program. I am torn between an allegiance to the belief that education should be something a society provides collectively through state-funded schools and the fact that there is almost no way this experiment could happen under the aegis of CUNY. There is too much red tape regulating union and labor law, curriculum review, and bureaucratic oversight. I am torn about this: as a member of the PSC-CUNY union: I benefit from the strength of this oversight, but the resulting regimented labor and curricular structure prevents experimentation.

Additionally, several grant experts have advised me that there is scant funding for this kind of program: most education related grants focus on public programming or K-12 arts enrichment. So in order to do this experiment, I have to do it independently. I worry that this puts the program into the domain of charter schools and other neoliberal disruptions; I hope that the ethics and outcome redeem it.

I thought accreditation would be really important, but it wasn't. I thought I had a way of getting the program accredited by piggybacking on a relationship between Carpe Diem Education and Portland State University, but it turned out to be impossible. I almost didn't run the program because of the lack of accreditation, but decided to take a risk anyway. What I learned was that accreditation wasn't important for a couple of interrelated reasons: over the course of the first two years of the New York Arts Practicum, about two thirds of the participants join the program immediately after graduating from an undergraduate or graduate program, thus they don't need academic credit. For the other third, the majority of them are coming from four-year art schools and liberal arts colleges; for these schools, students typically graduate in eight contiguous semesters, and an extra four or eight credits will not help them graduate earlier, and more importantly will not save them any money, as tuition at these schools is typically charged on a semester basis (not credit basis). One or two participants each year have been able to secure credit through independent studies, but for the most part, credit was not important because it runs during the summer. If this program were to run during the semester, it would be a different story.

Because credit is not at play, participants complete the program out of their own desire to learn and grow, not in order to fulfill a set of requirements. There are no grades. For most of the participants, it is the first time they are making something without the pressure or discipline of a grading system. They seem to grow from the experience of finding an intrinsic motivation to make something, rather than the extrinsic motivation of a grade. For me, as a teacher, it is a relief to not have to make the constant mental grade calculations that teaching at CUNY requires of me. Whether I like it or not, no matter how hard I try, when I am in a conventional, graded classroom, the grade is always present. Without it present, I feel freer as a teacher, and the participants grow more.

It saddens me to see so many young artists who have been called to a creative life unable to find a way to have lifelong creative practice. Young artists have been indoctrinated into thinking that the only way to be an artist is to go big. The program's mentors have all found successful ways of balancing life and art, building a life around their practice and synergizing their vocations with their avocation. The balances illustrated by the dozen mentors and dozen visiting artists provide a starting point for the participants to imagine how to navigate lives anchored by creative practice. While some of these artists found their way through trial and error, and others had a mentor who helped them, all of them want to share.

One of our first meetings this summer was with Pablo Helguera, who found time to meet with us after a full day of work as the Director of Adult and Academic Programs at MoMA, and before heading home to his family. One of the participants asked Pablo if he had any advice for young artists. Pablo said "I once asked a teacher of mine in art school: How do I know I am meant to be an artist? To which he replied: when you wake up in the morning, pay attention to your impulses. If you say "I need to get groceries, do this or that errand, call so and so, etc and then maybe tonight I will make some art - then you are not an artist. If instead you wake up and say "I have to make art" then you are an artist" He also added that "If there is anything else in the world you can do, you should do it." Making art is a calling. Some people are called to it, but not all are willing or able to make the sacrifices needed to follow through with it.

The eight weeks of the program help the participants figure out whether or not they are willing and able to make the sacrifices in order to follow that path. Some of them learn that they are not artists and find a path towards animation, design, web programming, or another creative field. While a professor or mentor who knew them well might have been able to tell them this, they have to learn this experientially for it to be truly meaningful. For these participants, it is a blessing to learn this before they commit two or three years, and up to one hundred thousand dollars in debt to get an MFA.

And for those who grasp the sacrifices and challenges of this path and wake up every morning ready to take them on before breakfast, they come out of these eight weeks with a clear understanding of just how hard it is to be an artist, and they are equipped with a handful of models for how to balance and merge their drive to create and their need to survive.

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New York Arts Practicum is a summer arts institute where participants experientially learn to bridge their lives as art students into lives as artists in the world.

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Online No School! | Afro-Futurism & Spatial Practices

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Art event in Edinburgh, United Kingdom by Rhubaba on Wednesday, April 1 2020

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We invite you to take part in an artistic exploration into Film and Media marking our Master Cohort's graduation in June 2020. We are proud to present 17 gifted, brave and research ready students - all set to encounter the world!

This Exposition takes its cue from the ongoing pandemic as each student shares their enquiry, their challenges and their visions for the future through interviews via zoom and on Research Catalogue.

There are three course profiles within the Master's Programme for Film and Media this year:

Narrative Space - Production Design for Film and Media

focusses on visualisation and the art of designing and building environments for moving images. Production design is moving image storytelling using space, place, architecture and objects as narrative tools.

The Art of Impact has an international and interdisciplinary approach and a focus on narrative, audience, distribution and participation. Students with a desire to develop as professionals while critically reflecting on a range of artistic approaches explore the latest technology through seminar formats and lab processes in order to expand the field.

Documentary processes is aimed at documentary makers, artists and journalists wishing to develop and expand their knowledge of contemporary reality storytelling through both theory and practice.

The new Master's Program in Film and Media is currently in development. It will cover a number of disciplines and is scheduled to launch in the September 2020 and 2021. Please see individual course web pages for further information.

Tinna Joné, Assistant professor in Documentary storytelling and

head of Master's Programme for Film and Media

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We invite you to take part in an artistic exploration into Film and Media marking our Master Cohort's graduation in June 2020. We are proud to present 17 gifted, brave and research ready students - all set to encounter the world!

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Live sync studio time. Groups work in Sync during their studio time; staff conduct short Stand-Ups on MS Teams to moderate their progress.

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Turn to these virtual study buddies for some company while you WFH.

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(from Design)

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Journal Homepage
Journal Title: Journal of Systemics, Cybernetics and Informatics

ISSN: 1690-4532 (Print); 1690-4524 (Online)

Publisher: International Institute of Informatics and Cybernetics

Society/Institution: HTML Web Page

LCC Subject Category: Technology: Technology (General): Industrial engineering. Management engineering: Information technology | Language and Literature: Philology. Linguistics: Communication. Mass media

Country of publisher: United States

Language of fulltext: English

Full-text formats available: PDF

Abstract | Full Text

Higher education is typically compartmentalized by field and expertise level leading to a lack of collaboration across disciplines and reduced interaction among students of the same discipline that possess varying levels of expertise. The divisions between disciplines and expertise levels can be perforated through the use of a concentrated, short-term design problem called a charrette. The charrette is commonly used in architecture and interior design, and applications in other disciplines are possible. The use of the charrette in an educational context provides design students the opportunity to collaborate in teams where members have varying levels of expertise and consult with experts in allied disciplines in preparation for a profession that will expect the same. In the context of a competitive charrette, this study examines the effectiveness of forming teams of design students that possess a diversity of expertise. This study also looks at the effectiveness of integrating input from professional experts in design-allied disciplines (urban planning, architecture, mechanical and electrical engineering) and a design-scenario-specific discipline (medicine) into the students' design process. Using a chi-square test of goodness-of-fit, it is possible to determine student preferences in terms of the team configurations as well as their preferences on the experts. In this charrette context, the students indicated that the cross-expertise student team make-up had a positive effect for both the more experienced students and the less experienced students. Overall, the students placed high value on the input from experts in design-allied fields for the charrette. They also perceived a preference of input from external experts that had an immediate and practical implication to their design process. This article will also show student work examples as additional evidence of the successful cross-expertise collaboration among the design students and evidence of the integration of information from the experts into the design results.

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Journal Homepage Journal Title: Journal of Systemics, Cybernetics and Informatics ISSN: 1690-4532 (Print); 1690-4524 (Online) Publisher: International Institute of Informatics and Cybernetics Society/Institution: HTML Web Page LCC Subject Category: Technology: Technology (General): Industrial engineering. Management engineering: Information technology | Language and Literature: Philology. Linguistics: Communication.

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With many festivals and large gatherings around the world cancelled for months to come, some artists have turned to Minecraft to ensure that gigs still go ahead for fans.

Around the world, music fans have been left disappointed by a spate of cancellations affecting music festivals, concerts and other gatherings, as governments call off large events to slow the spread of Covid-19.

Now that many artists have had their schedules cleared for the foreseeable future, some have been turning to the internet to entertain fans and raise money for charity.

As physical distancing measures continue, artists have taken to YouTube, Instagram and other livestreaming platforms to hold gigs and interact with fans. Last weekend, Billie Eilish, Lady Gaga and Paul McCartney were among participants in a large televised concert to raise money for Covid-19 relief funds.

Now, gigs have even been arranged for Microsoft's popular multiplayer platform, Minecraft. Earlier this month, emo band American Football headlined a digital festival line-up on the platform that included acts such as Hana and Iglooghost. Similar events are set to take place this weekend.

Square Garden festival

The first of this weekend's events arranged for Minecraft, which will also be streamed on YouTube, is entitled Square Garden. On Friday (24 April) at 10pm (UTC +1), a four-hour event organised by artist 100 Gecs will feature popstar Charli XCX as a headliner.

Also performing at the event is AG Cook, producer and founder of the PC Music record label, and a number of acts associated with the label including Danny L Harle, Tommy Cash and GFOTY.

100 gecs presents: 🌳Square Garden🌳

🌲🌺🌳☘️🌾🍁🌸🌹💐🍂🌸🍄☘️💐🍂🌻🍃🌱🌿☘️🌻🍀🌼🌻🌹🌹☘️🌷🌳🍂💐🌲🌷☘️🌹🍄🌹🌻☘️🌲🌸☘️💐🌻🌻🌼🌹🌸🌿🌻🌻🌹🌼🌻🌸💐🌺🍀🌳🍂🍁🌳🍄🍀🌻

an @OpenPitPresents Minecraft festival to support Feeding America
4/24/2020 @ https://t.co/jduGZdtNLU pic.twitter.com/PxiDrDNUEX

- 100 gecs (@100gecs) April 16, 2020

Also on the bill is Dorian Electra, Kero Kero Bonito and Benny Blanco. The event will raise money for the charity Feeding America. Instructions on how to watch the concert can be found here.

100 Gecs, the stage name of pop duo Dylan Brady and Laura Les, played their first concert on Minecraft in 2019, when virtual concerts were a novelty, rather than a necessity.

Block by Blockwest

If none of the acts at Square Garden take your fancy, you might prefer Block by Blockwest (nicknamed BXBW). On Saturday (25 April), punk bands such as Idles and Pussy Riot will be playing sets on Minecraft at 7pm (UTC +1).

Join us this Saturday, April 25th from 3PM ET for Block By Block West to raise funds for CDC's Covid-19 Response Fund. https://t.co/fS0rbNXcYv pic.twitter.com/QTJXikzSKA

- I D L E S (@idlesband) April 21, 2020

The BXBW website reads: "Due to the mass cancellation of tours, 'Block By Blockwest: A Minecraft Music Festival' aims to provide an online festival experience for the artists that were forced to cancel their tours and fans who missed out on the chance to hear their favourite artists live."

Some of the other acts performing at the virtual event include Fever 333, Health, Citizen, Rich People and Deal Casino. You can find the full line-up and instructions on how to attend the event here.

Elsewhere, Travis Scott is performing on Fortnite this week, while Soccer Mommy planned to play a show for fans on Club Penguin. It's worth keeping an eye on your favourite artists to see if they get involved in any of these initiatives.

Irish festivals cancelled

Online events might be the closest that many Irish music fans get to attending concerts and festivals for the foreseeable future. On Wednesday (22 April), the Government announced that mass gatherings with more than 5,000 people can no longer take place this summer.

The measures are in place until 31 August and will be under constant review. This has led to the cancellation of Life Festival, Forbidden Fruit, Body & Soul, Longitude, All Together Now and Love Sensation, among others.

Electric Picnic, Ireland's largest music festival, is scheduled for three days in September after restrictions are lifted, but many are doubtful that the event will go ahead. The festival was set to increase its capacity from 55,000 to 70,000 this year.

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How to watch Charli XCX and Idles at Minecraft festivals this weekend

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With many festivals and large gatherings around the world cancelled for months to come, some artists have turned to Minecraft to ensure that gigs still go ahead for fans. Around the world, music fans have been left disappointed by a spate of cancellations affecting music festivals, concerts and other gatherings, as governments call off large events to slow the spread of Covid-19.

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freeware; students can use this as a common tool and sync co-work in the cloud

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The Art Assignment is now a book! New assignments, along with a selection gathered during the course of making the series, will be available for sale on April 14, 2020. You Are an Artist includes over 50 assignments from some of the most innovative artists making work today. You'll learn about why these artists are offering each assignment, what works from art history inform the activity, and see some of the outstanding responses that have been made to the assignments. It also offers a plethora of new tips and cheats and variations.

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The Art Assignment is now a book! New assignments, along with a selection gathered during the course of making the series, will be available for sale on April 14, 2020. You Are an Artist includes over 50 assignments from some of the most innovative artists making work today.

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P2P learning

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Micro Quickstart Guide

Book

This book can help any group of people learn or create something together. Scroll down to read online or download absolutely free, or buy a copy, or fork a copy of your very own to work on.

Mailing List

Our ongoing public discussions are on Google Groups at https://groups.google.com/forum/#!forum/peeragogy. Sign up there to get email and post to the wider contributor community. Remember to ask questions!

Live Discussions

The easiest way to get an orientation to our editing work is to join a live discussion with us. We are gathering on Mondays at 8PM UTC on Jitsi, at the following URL: https://jitsi.metameso.org/peeragogy. Join with your browser on that URL, or via the Jitsi app on your smartphone -- you can get that here: https://jitsi.org/downloads/.

Annotations

To comment on the Peeragogy Handbook please make an account at https://hypothes.is/ and use the mini-toolbar on the right-hand side of each page on peeragogy.org. They're collected at https://hypothes.is/search?q=url%3Apeeragogy.github.io%2F*. You're also welcome to share reviews or comments elsewhere of course!

Organization

If you browse to https://github.com/Peeragogy you will see our Github "organization". The master copy of the Handbook content is at https://github.com/Peeragogy/Peeragogy.github.io. Pull requests welcome. Github has a learning curve, so we hope you will ask us for help if you get stuck.

Projects

In particular, we manage our projects on Github with using kanban boards: https://github.com/orgs/Peeragogy/projects. If you'd like to get involved, have a look at the tasks outlined there.

More details

Please have a look at this longer quickstart guide for more information about our tools and workflow.

Table of Contents

Introduction: Motivation: Peeragogy in Practice: Convening a group: Organizing a Learning Context: Cooperation: Assessment: Technologies, Services, and Platforms: Resources:

How to cite

J. Corneli, C. J. Danoff, C. Pierce, P. Ricaurte, and L. Snow MacDonald, eds. The Peeragogy Handbook. 3rd ed. Chicago, IL./Somerville, MA.: PubDomEd/Pierce Press, 2016. Downloaded from http://peeragogy.org.

Or in BibTeX:

@book{peeragogy-handbook,
 title={Peeragogy {Handbook}},
 editor={Corneli, Joseph and Danoff, Charles Jeffrey and Pierce, Charlotte and Ricaurte, Paola and Snow MacDonald, Lisa},
 year={2016},
 edition={3},
 address={Chicago, IL./Somerville, MA.},
 publisher={PubDomEd/Pierce Press},
 url={http://peeragogy.org},
}

Credits

Editorial Board: Joseph Corneli, Charles Jeffrey Danoff, Paola Ricaurte, Charlotte Pierce, and Lisa Snow MacDonald

Contributors: Bryan Alexander, Paul Allison, Elisa Armendáriz, Régis Barondeau, Doug Breitbart, George Brett, Suz Burroughs, Teryl Cartwright, Jay Cross, Julian Elve, María Fernanda Arenas, James Folkestad, Kathy Gill, John Glass, John Graves, Jan Herder, Matthew Herschler, Gigi Johnson, Anna Keune, Kyle Larson, Roland Legrand, Amanda Lyons, Dorotea Mar, Christopher Tillman Neal, Ted Newcomb, Stephanie Parker, Miguel Ángel Pérez Álvarez, David Preston, Laura Ritchie, Verena Roberts, Stephanie Schipper, Peter Taylor, Fabrizio Terzi, and Geoff Walker

Founder: Howard Rheingold

Public Domain ( CC-Zero), 2012-2020

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Micro Quickstart Guide Book This book can help any group of people learn or create something together. Scroll down to read online or download absolutely free, or buy a copy, or fork a copy of your very own to work on. Mailing List Our ongoing public discussions are on Google Groups at https://groups.google.com/forum/#!forum/peeragogy.

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built into LEARN

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PeerMark assignments allow you to read, review, and score or evaluate one or many papers submitted by your peers. Peer feedback is available immediately.The PeerMark assignment may be anonymous or attributed, depending on the classroom structure determined by the instructor.

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Recent posts

As the lockdown starts to ease in the UK, reflection on the nation's response to the COVID-19 pandemic has begun in earnest. A particular focus has been on Imperial's epidemiological model, originally created by Neil Ferguson, which was widely credited with convincing the government to implement lockdown measures after it forecast up to half a [...]

In a recent briefing paper on the implications of the COVID-19 pandemic for cybercrime policing in Scotland commissioned by the Scottish Institute for Policing, we identified a range of ways in which cybercrime has been adapting in recent months. Online fraudsters are exploiting people's fear and uncertainty during the outbreak, often simply lending a virus [...]

It's nearly 12 weeks since I took my first steps into the world of home-grown veg. In that time, there has been a lot of glorious sunshine, so I have been kept busy watering. Unfortunately, there was also a storm a couple of weeks ago, and the pea plants and leeks that I had been [...]

Mary Holmes A friend in Geneva sent me these photos and translations of posters put up by students. After a semester of online teaching, the University of Geneva is holding a socially-distanced exam session. Among torn posters advertising pre-lockdown hip-hop festivals and social events, students are voicing their concerns. I've been called for civil service [...]

There is no excerpt because this is a protected post.

In today's blog, Sophie Lowry, Strategic Research Executive, rounds up some of the latest key developments in UK research funding, and explores what may be next for the UK research funding landscape. It's hard to believe that it was just three months ago that the UK government announced its 2020 budget in which it announced [...]

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Staff and student blogs for our connected learning community Get your own blog Qualifying University members can create their own blog instantly. Create a blog Get help using WordPress Need help creating or updating your blog, or want to learn more about using WordPress? Get help Already have a blog?

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for edit-a-thons

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It looks like this browser doesn't run JavaScript. You can use one of these static HTML versions to browse the same content:
Have you ever had the feeling that your head is not quite big enough to hold everything you need to remember?
Welcome to TiddlyWiki, a unique non-linear notebook for capturing, organising and sharing complex information.

Use it to keep your to-do list, to plan an essay or novel, or to organise your wedding. Record every thought that crosses your brain, or build a flexible and responsive website.

Unlike conventional online services, TiddlyWiki lets you choose where to keep your data, guaranteeing that in the decades to come you will still be able to use the notes you take today.

The TiddlyWiki is the best software I've ever found for organising my ideas.
It's well worth spending an hour or so playing with it to see how it can help you. This will be time well-spent and will change how you think and how you organise your ideas.
Joe Armstrong, Co-inventor of Erlang

TiddlyWiki gets a Gearhead rating of 6 out of 5 (it's that good).
Finding code that works flawlessly after just two or three years is magical enough but after seven years?!
Mark Gibbs, Network World

TiddlyWiki is a rich, interactive tool for manipulating complex data with structure that doesn't easily fit into conventional tools like spreadsheets or wordprocessors.

TiddlyWiki is designed to fit around your brain, helping you deal with the things that won't fit. The fundamental idea is that information is more useful and reusable if we cut it up into the smallest semantically meaningful chunks - tiddlers - and give them titles so that they can be structured with links, tags, lists and macros. Tiddlers use a WikiText notation that concisely represents a wide range of text formatting and hypertext features. TiddlyWiki aims to provide a fluid interface for working with tiddlers, allowing them to be aggregated and composed into longer narratives.

People love using TiddlyWiki. Because it can be used without any complicated server infrastructure, and because it is open source, it has brought unprecedented freedom to everyone to keep their precious information under their own control.

TiddlyWiki was originally created by JeremyRuston and is now a thriving open source project with a busy Community of independent developers.

Further information about specific TiddlyWiki features:

Last but not least, TiddlyWiki is a rare example of a practical quine

Once all the relevant links have been transferred over these entries will be removed from the main tiddlywiki.com site.

If you find TiddlyWiki useful, there are lots of ways you can help assure its future and make it better.

OpenSource projects like TiddlyWiki thrive on the feedback and engagement of users. TiddlyWiki becomes more useful to everyone as more and more people use it. So, if you find TiddlyWiki useful, spread the word. The best possible way to assure its future is for it to become a hundred times more popular than before.

There are many ways you can contribute to TiddlyWiki:

Writing tutorials

Contributing to the documentation on tiddlywiki.com

Making video screencasts

Curating relevant links, hints and tips on a wiki

The main TiddlyWiki documentation and code lives on GitHub, and welcomes contributions:

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TiddlyWiki - a non-linear personal web notebook

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It looks like this browser doesn't run JavaScript. You can use one of these static HTML versions to browse the same content: Have you ever had the feeling that your head is not quite big enough to hold everything you need to remember? Welcome to TiddlyWiki, a unique non-linear notebook for capturing, organising and sharing complex information.

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Universal Design for Learning (UDL) is an approach to teaching and learning that gives all students equal opportunity to succeed.

To understand what UDL is, it helps to understand what it's not. The word universal may throw you off. It may sound like UDL is about finding one way to teach all students. But UDL actually takes the opposite approach.

The goal of UDL is to use a variety of teaching methods to remove any barriers to learning. It's about building in flexibility that can be adjusted for every person's strengths and needs. That's why UDL benefits all learners.

This approach to teaching or to workplace training doesn't specifically target people who learn and think differently. But it can be especially helpful for kids with these challenges - including those who have not been formally diagnosed. It can also be very helpful for English language learners.

Watch this video to see what UDL looks like in a fifth-grade classroom.

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What is Universal Design for Learning (UDL)?

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Universal Design for Learning (UDL) is a teaching approach to help all learners be successful. Read about UDL principals and the benefits of UDL for students.

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(basis of Edinburgh Model)

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A visually structured approach to learning design to think through and support your students’ learning

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DOI link for E-Moderating

E-Moderating book

The Key to Online Teaching and Learning

DOI link for E-Moderating

E-Moderating book

The Key to Online Teaching and Learning

By Gilly Salmon, Gilly Salmon

eBook Published 22 January 2004

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E-Moderating | The Key to Online Teaching and Learning

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DOI link for E-Moderating E-Moderating book The Key to Online Teaching and Learning DOI link for E-Moderating E-Moderating book The Key to Online Teaching and Learning By Gilly Salmon, Gilly Salmon eBook Published 22 January 2004

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Scottish academics are teaching their students and their kids (blended learning) - what can we learn from Schools?

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For online learning to be successful and happy, participants need to be supported through a structured developmental process. The five-stage-model provides a framework or scaffold for a structured and paced programme of e-tivities.
​The five-stage-model offers essential support and development to participants at each stage as they build up expertise in learning online.

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Update video for the 5 stage model for 2022 and beyond. ​ Click here.

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Welcome back to Instagram. Sign in to check out what your friends, family & interests have been capturing & sharing around the world.

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Extensive report on what different nations are doing and not doing.

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(decolonisation)

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Salmon, G., 2013. E-tivities the key to active online learning 2nd ed., New York: Routledge.

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This is the UCL site for ABC Learning Design. The Erasmus+ project site (2018-2020) and the ABC Toolkit can be found at Erasmus+ ABC to VLE: beyond curriculum design .

ABC at UCL

The ABC model has been widely used across UCL (and the sector) in the format of the ABC workshop, developed by UCL Digital Education. During the 'classic' high-energy 90 minute ABC workshop, academic teams work together to create a visual 'storyboard' showing the type and sequence learning activities required to meet the module's learning outcomes, and how these will be assessed. Over a thousand UCL colleagues participated in live ABC workshops since we started in 2015, finding the format to be particularly useful for new programmes or those moving to an online or more blended format.

In early 2022, ABC was integrated into UCL's institutional approach to programme development and review. The new Programme Development team in the Arena Centre (UCL Education and Student Experience) assists in the development of new programmes and the design of modules, as well as the review and redesign of current ones. Through custom workshops and guidance, the team supports the development of initial concepts and preparation for UCL's Programme and Module Approval Process (PMAP). The team's approach throughout focuses on providing a rich and cohesive student experience across programmes, and prior to PMAP Student Quality Reviews can be arranged to ensure the student viewpoint is included prior to submission. These short sessions have proved to be both effective and timely. After approval, our familiar ABC workshops take the designs to the next level. Programme teams storyboard the sequence and combination of activities across modules and build in assessment and feedback. The UCL Programme Development team blog is here.

Online ABC

During the pandemic, live workshops were suspended, so an online version of ABC was developed in 2021 that can be run though MS Teams and the online whiteboard tool Jamboard. Live workshops can now be booked again, but the online version remains a very useful alternative. Here is an introduction to the overall approach (8 minutes).

UCL colleagues, if you wish to arrange an online or face-to-face ABC session for your programme, please use this form.

More background about ABC

1. A short video introducing the live workshop (4 minutes).

2. A longer introduction from one of our live workshops (18 minutes)
3. More about the learning types, and how they link to UCL tools. 4. And some papers to read.

1. Young, C. and Perović, N. (2016) Rapid and Creative Course Design: As Easy as ABC? Procedia - Social and Behavioral Sciences, 228, 390-395

2. Hasenknopf, B., Michou, V., Milani, M., Perović, N. and Young, C. (2019). Sharing the ABC approach to learning design across three European Universities. European University Association (EUA), 2019 European Learning & Teaching Forum, Warsaw. ISSN: 2593-7448

3. Young, C.P.L. and Perović, N. (2020). ABC LD - A new toolkit for rapid learning design. European Distance Education Network (EDEN) Conference 2020, Timisoara, Romania.

Clive Young and Nataša Perović, Digital Education, UCL, 2022

All ABC resources are released under Creative Commons
Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0) license

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Education has very suddenly moved to a hybrid and flexible mode, sometimes referred to as "hyflex". What does that mean?

Hybrid: The media in which these new modes of learning happen are a complicated and varied mixture of digital and analogue (that is to say, physical, non-electronic).

Flexible: Temporalities of engagement follow more diverse patterns, between synchronous and asynchronous, and with not all students engaging in the same ways at the same time.

Disruption caused by changing socio-material conditions necessitates hybridity and flexibility. For example, some students, on some days, may not be able to join a lecture in sync with the rest of the class. This does not rule out live teaching, but rather adds to the complexity. Some may participate live online. Others may watch a recording and engage through an asynchronous discussion. They could even watch the recording together, and chat to each other synchronously as they watch. The stresses and constraints that determine access to learning have become far greater and more unpredictable, resulting in a diversity of needs and patterns of behaviour.

The switch to hybrid and flexible teaching is also positive, widening access to education, affording new ways of working, aligning education to emerging practices in industry and society, and perhaps eventually having transformative effects well beyond the university. This is both exciting and challenging.

In addition, the tools, techniques and resources that students may use in learning are now far less constrained than in the conventional classroom. For example, a student can join a videoconference on their phone, and at the same time work on documents, access notes, search journals, all at the same time. Learning is, at least potentially, more diverse and distributed. Again, this is exciting and challenging, especially to teachers who are used to having an overview of what their students are doing.

As a consequence, when designing for learning, we now benefit more than ever from adopting a connectivist mindset - that is to say:

seeing students as intelligent agents growing their own understanding and capabilities through actively connecting together diverse ingredients in diverse ways;

being teachers who see their role as facilitating the connections that enable growth and sense-making.

Connecting, in this sense, is not a passive bricolage, but rather an act of creative synthesis. The cultivation of the connective capability is a key outcome of education. It equips students to cope with a complex world. It develops that most precious of abilities, creativity. A conscious emphasis on connectivism in designing and implementing education means starting from hybrid and flexible as the default, and seeing cases where that is not possible as being in deficit (which is to swap around the still-common viewpoint that hyflex is a more chaotic and less perfect alternative to "traditional" teaching).
In my next article in this series I will look at techniques we can use to design and facilitate this kind of networked, distributed, connective education. How do we ensure that students keep moving in the right direction? How do we establish and sustain a sufficiently common and meaning-giving narrative thread that holds it together whilst also encouraging creativity?
In synchronous communication, all parties attend the channel at the same time, waiting for messages and then responding. In the asynchronous mode, participants turn their focus away from the channel to do other things, and do not necessarily attend to messages immediately.

Thanks to John Couperthwaite for introducing us to the term hyflex at our recent Teachnology Enhanced Active Learning festival at Warwick.

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For teaching we must now adopt a connectivist mindset

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Education has very suddenly moved to a hybrid and flexible mode, sometimes referred to as "hyflex". What does that mean? Hybrid: The media in which these new modes of learning happen are a complicated and varied mixture of digital and analogue (that is to say, physical, non-electronic).

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Great Firewall of China

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Sync is WiFi Hungry!!!!

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IDDblog: Instructional Design Tips, Advice, & Trends for Online & Distance Learning | Educational Technology and Online Course Design Help | Resources and guidance for online, hybrid, and face-to-face course design from the Center for Teaching and Learning at DePaul University. Rated a “Must-Read Higher Ed I.T. Blog” by EdTech Magazine’s Dean’s List.

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Videoconferencing Alternatives: How Low-Bandwidth Teaching Will Save Us All | IDDblog: Instructional Design Tips, Advice, & Trends for Online & Distance Learning | Educational Technology and Online Course Design Help

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Daniel Stanford discusses solutions for online teaching that may help save bandwidth, be more accessible to students, and create a unified online learning environment.

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Paragogy and flipped assessment experience of designing and running a MOOC on research methods