DeVoss, Danielle and Annette C. Rosati. "It wasn't me, was it?": Plagiarism and the Web." Computers in the Composition Classroom. Eds. Michelle Sidler, Richard Morris, and Elixabeth Overman Smith. Boston: Bedford / St. Martin’s, 2008: 151-164. Print.
The story that the author's open with about students being unsure of whether or not they plagiarized is one that I can relate to as it's a concern my students (especially at the for profit school I teach with) are very vocal about. In that particular Comp I course, that is canned, student were required to write an informative research paper on a topic that they were interested in. This meant they often knew little about what they were writing about. When these students submitted there work to the writing center (which was required in the course design), they often received comments about sources being weaved together. The most common question I was asked: how am I supposed to write an informative paper that I am learning about without relying so heavily on my sources.
I felt all the issues brought up (especially about new texts causing further issue) were still relevant. I particularly liked the quote from p. 159 in regard to a student plagiarizing the design of a website: "Did this student plagiarize? How does electronic publishing complicate our print-based assumptions about what plagiarism is and isn't? What is common practice on the Web? How do we separate code from design in online space? Design from content?" I think that while we do have CC, we're still navigating these issues.
I included this site because of our recent conversation about OWL's.
Showing posts with label Reading and Thinking. Show all posts
Showing posts with label Reading and Thinking. Show all posts
Thursday, November 17, 2011
Computers, Copyright and the Composition Classroom
Logie, John. "Champing at the Bits: Computers, Copyright, and the Composition Classroom." Computers in the Composition Classroom. Eds. Michelle Sidler, Richard Morris, and Elixabeth Overman Smith. Boston: Bedford / St. Martin’s, 2008: 135-150. Print.
Copyright and fair use have come to the forefront of the writing classroom with the advent of new technologies. While Logie's article was dated (1998), it's still very much relevant. Not only to writing, but in the expanding definition of composition for many in the field. Even with the fair use clause, there are issues. There have been instances where student work has been taken off you tube for using clips and images that were copyrighted (even though citations were provided). I think that the creative commons site was a good way to give "creators" control, but still allow use within certain limits.
This is the site dedicated to fair use.
Copyright and fair use have come to the forefront of the writing classroom with the advent of new technologies. While Logie's article was dated (1998), it's still very much relevant. Not only to writing, but in the expanding definition of composition for many in the field. Even with the fair use clause, there are issues. There have been instances where student work has been taken off you tube for using clips and images that were copyrighted (even though citations were provided). I think that the creative commons site was a good way to give "creators" control, but still allow use within certain limits.
This is the site dedicated to fair use.
Oral Presentation
In another course that I'm taking, I have to do a presentation on a major debate. I had created a class wiki (using Google Sites) for this class. Google Sites it's something I had never used before, but I played around with it to do what I needed it to do. After creating it, I created a video that showed my classmates how to go through and post what they needed to post. Between this experience, and my previous experience with my classmates and Prezi, I think that a major debate might be how much knowledge of technology do we need in order to use and teach it. There obviously are proponents who say "we don't need much if any," but then why are we not using them more often (outside of this class of course). I think where I need to go for that project is find sources that make that argument-the argument for knowing more about the technology I guess.
Prezi
I've convinced (thought it wasn't hard) a group I'm in for another class to use Prezi for a group presentation for the first time. It's interesting that when I asked if they wanted an instructional video or to click and learn and use me to trouble shoot, they opted to click and learn. It made me wonder if it's something all students would be comfortable with or if that was the case because the rest of my group members are concentrating in new media: they're not scared of it. I had another situation, this past week when creating our jigsaw, where I was helping my group members learn more about Prezi as we edited the work together. I walked them through a couple of things (showing and talking at the same time) and then they were able to do it themselves. Is it simply a difference in learning styles?
Tuesday, November 8, 2011
Flash in FYC
Ellertson, Anthony. "Some Notes on Simulacra Machines, Flash in First-Year Composition, and Tactics in Spaces of Interruption." Computers in the Composition Classroom. Eds. Michelle Sidler, Richard Morris, and Elixabeth Overman Smith. Boston: Bedford / St. Martin’s, 2008: 482-484. Print.
I have to say that I love Flash, and I've seen first hand how using it can create a more complete vision or message. Here is flash video created in NMTP II by my classmates and I for Dr. Mourao (a lit prof at ODU). She had several pieces (video, personal essay, scholarly work, paintings) that fed into this concept of whiteness in Portuguese culture. We were able to centralize all her work so that the viewer or "reader" could understand the full concept. I think that the elements worked together to really create a complete argument.
I have to say that I love Flash, and I've seen first hand how using it can create a more complete vision or message. Here is flash video created in NMTP II by my classmates and I for Dr. Mourao (a lit prof at ODU). She had several pieces (video, personal essay, scholarly work, paintings) that fed into this concept of whiteness in Portuguese culture. We were able to centralize all her work so that the viewer or "reader" could understand the full concept. I think that the elements worked together to really create a complete argument.
Integrated Composition Pedagogy in Hypertext
Williams, Sean D. "Part 2: Toward and Integrated Composition Pedagogy in Hypertext." Computers in the Composition Classroom. Eds. Michelle Sidler, Richard Morris, and Elixabeth Overman Smith. Boston: Bedford / St. Martin’s, 2008: 469-481. Print.
Again, this reading comes at a time when I'm grappling with the concept of "literacy" in all its complexity. I'm not sure that I agree with defining these literacies that we have as simple skill sets. I do like that Williams addressed the issue of visual rhetoric and literacy in this article. Visual rhetoric as it's presented in FYC textbooks is a topic that I'm looking at in that same project for another class. I do agree that there needs to be an inclusive yet expansive way to approach composition. I've always thought that the medium used alters the message and so how it's presented (or delivered) will make a big impact on the message itself. Something else that I've found interesting is this idea of rhetorical velocity that's presented by Ridolfo and DeVoss in Kairos.
Again, this reading comes at a time when I'm grappling with the concept of "literacy" in all its complexity. I'm not sure that I agree with defining these literacies that we have as simple skill sets. I do like that Williams addressed the issue of visual rhetoric and literacy in this article. Visual rhetoric as it's presented in FYC textbooks is a topic that I'm looking at in that same project for another class. I do agree that there needs to be an inclusive yet expansive way to approach composition. I've always thought that the medium used alters the message and so how it's presented (or delivered) will make a big impact on the message itself. Something else that I've found interesting is this idea of rhetorical velocity that's presented by Ridolfo and DeVoss in Kairos.
Negative Spaces
Johnson-Eilola, Johndan. "Negative Spaces: From Production to Connection in Composition."Computers in the Composition Classroom. Eds. Michelle Sidler, Richard Morris, and Elixabeth Overman Smith. Boston: Bedford / St. Martin’s, 2008: 454-468. Print.
What's interesting is that this reading comes at a time when I needed it most. In another class, I'm working on a project that argues for the production of visual texts in order to have a complete understanding of visual rhetoric. However, the issue I've been having is with the word "production." I feel that production in the way that I mean does not align with product pedagogy, and this article has given me more food for thought as I struggle with examining the term production in that project. I do like the emphasis on the connection between texts and fragments. I think that times that I've learned the most is when I'm able to make connections (however loose at the time) between fragments of information (specifically in classes). This article specifically made me think of the idea of "remixing." And this website goes into remixing in a composition classroom. (And is a shout-out to Rowan-my alma mater).
What's interesting is that this reading comes at a time when I needed it most. In another class, I'm working on a project that argues for the production of visual texts in order to have a complete understanding of visual rhetoric. However, the issue I've been having is with the word "production." I feel that production in the way that I mean does not align with product pedagogy, and this article has given me more food for thought as I struggle with examining the term production in that project. I do like the emphasis on the connection between texts and fragments. I think that times that I've learned the most is when I'm able to make connections (however loose at the time) between fragments of information (specifically in classes). This article specifically made me think of the idea of "remixing." And this website goes into remixing in a composition classroom. (And is a shout-out to Rowan-my alma mater).
Monday, October 31, 2011
Multimodal Composition Ch. 8
Borton, Sonya C. and Brian Hout. "Responding and Assessing." Multimodal Composition: Resources for Teachers. Ed. Cynthia L. Selfe. Cresskill, NJ: Hampton Press, 2007: 99-111. Print.
This chapter gave great advice and worksheets for rhetorically responding to and assessing student work. I particularly liked the emphasis on "composing self-consciously" (99) and using assessment as a tool to teach composition. I have my students keep a research journal in order to keep up on their progress, and I could definitely see having the benefit to a progress journal for mutlimodal assignments-especially for my online students. They don't have the benefit of me walking around and leaning over their shoulders to get feedback, so the journal would be one way to make that connection.
This page makes an argument for a traditional writing program rubric to be used in a multimodal composition assessment.
This chapter gave great advice and worksheets for rhetorically responding to and assessing student work. I particularly liked the emphasis on "composing self-consciously" (99) and using assessment as a tool to teach composition. I have my students keep a research journal in order to keep up on their progress, and I could definitely see having the benefit to a progress journal for mutlimodal assignments-especially for my online students. They don't have the benefit of me walking around and leaning over their shoulders to get feedback, so the journal would be one way to make that connection.
This page makes an argument for a traditional writing program rubric to be used in a multimodal composition assessment.
Brain Rules on TV
When I read the Brain Rules chapter this week, I thought of something I had seen on TV about "Ba" and "Va" over the summer. I can't remember what channel it was on, but the clip here is from the show that I saw.
Yancey: A New Assessment Design
Yancey, Kathleen Blake. "Looking for Sources of Coherence in a fragmented World: Notes toward a New Assessment Design."Computers in the Composition Classroom. Eds. Michelle Sidler, Richard Morris, and Elixabeth Overman Smith. Boston: Bedford / St. Martin’s, 2008: 293-307. Print.
In this article Yancey discusses assessment of digital compositions by considering the relationships between the parts as a coherent rhetorical work. This necessitates a broader definition of composition as well as a heuristic for consideration.
I liked that she includes a list of things to consider: What arrangements are possible? Who arranges? What is the intent? What is the fit between the intent and the effect? I think these are important questions regardless of the composition and that considering them will help us to address issues of validity in all types of compositions in turn.
I thought this slideshow was relevant.
In this article Yancey discusses assessment of digital compositions by considering the relationships between the parts as a coherent rhetorical work. This necessitates a broader definition of composition as well as a heuristic for consideration.
I liked that she includes a list of things to consider: What arrangements are possible? Who arranges? What is the intent? What is the fit between the intent and the effect? I think these are important questions regardless of the composition and that considering them will help us to address issues of validity in all types of compositions in turn.
I thought this slideshow was relevant.
Sunday, October 30, 2011
Using Tech in any classroom...
So I've created a matrix for another class using Google sites. I ended up with Google sites because it was the only program I could really get to format a spread sheet type platform that could have files uploaded to it (without writing my own code). This isn't the first time that I've had a hard time finding a program that will let me do what I want to do and it made me think of the access issues we've been discussing in class. Is programming going to be the new literacy?
Tuesday, October 25, 2011
Web Research and Genres
Sidler, Michelle. "Web Research and Genres in Online Databases: When the Glossy Page Disappears." Computers in the Composition Classroom. Eds. Michelle Sidler, Richard Morris, and Elixabeth Overman Smith. Boston: Bedford / St. Martin’s, 2008: 350-365. Print.
In this article, Sidler discusses the spatial orientation and cognitive mapping of the web in order to help students do research. She uses the metaphor of the neighborhoods in a city to explain the navigation and types of sources out there. She argues that the physical space of research has changed. Many of the cues and clues of print text don't exist database texts, and students will also come across flashy websites with no content. Therefore, we need to teach them now to navigate this new physical area of research.
I liked that Sidler brought up issues of physicality and specifically focused on the magazine. I've had students think that just become an article is in a database that it comes from a peer reviewed journal. They associate straight text without "flair" with academia.
I'm not trying to sell these, but it made me wonder how it has/will change the physicality of research because it is certainly fluid (as Sidler says).
In this article, Sidler discusses the spatial orientation and cognitive mapping of the web in order to help students do research. She uses the metaphor of the neighborhoods in a city to explain the navigation and types of sources out there. She argues that the physical space of research has changed. Many of the cues and clues of print text don't exist database texts, and students will also come across flashy websites with no content. Therefore, we need to teach them now to navigate this new physical area of research.
I liked that Sidler brought up issues of physicality and specifically focused on the magazine. I've had students think that just become an article is in a database that it comes from a peer reviewed journal. They associate straight text without "flair" with academia.
I'm not trying to sell these, but it made me wonder how it has/will change the physicality of research because it is certainly fluid (as Sidler says).
Web Literacy Ch. 21
Sorapure, Madeleine, Pamela Inglesby, and George Yatchisin. "Web Literacy: Challenges and Opportunities for Research in a New Medium." Computers in the Composition Classroom. Eds. Michelle Sidler, Richard Morris, and Elixabeth Overman Smith. Boston: Bedford / St. Martin’s, 2008: 333-349. Print.
This article discusses web literacy and the student. They argue for a more comprehensive evaluative criteria for the web because not only are we currently use print evaluation as a basis for web evaluation, but also that practice does not paint a clear picture of truly evaluating and understanding what the web has to offer (such as interactivity, visual images, etc.). The article supports the idea that the web should be used in the classroom as a rhetorical tool and should be allowed in researched projects; however, we first need to teach students how to use it.
I liked that this article addressed an issue we still have today, and it made me wonder why we still have this issue. Academia is still wary of the online source and students are still unaware of how they should evaluate the source. I often get "well it looks credible because it looks like a professional site."
This site has five criteria for evaluation, and this one gives a general overview of evaluating websites.
This article discusses web literacy and the student. They argue for a more comprehensive evaluative criteria for the web because not only are we currently use print evaluation as a basis for web evaluation, but also that practice does not paint a clear picture of truly evaluating and understanding what the web has to offer (such as interactivity, visual images, etc.). The article supports the idea that the web should be used in the classroom as a rhetorical tool and should be allowed in researched projects; however, we first need to teach students how to use it.
I liked that this article addressed an issue we still have today, and it made me wonder why we still have this issue. Academia is still wary of the online source and students are still unaware of how they should evaluate the source. I often get "well it looks credible because it looks like a professional site."
This site has five criteria for evaluation, and this one gives a general overview of evaluating websites.
The Computer and the Inexperienced Writer
Hult, Christine A. "The Computer and the Inexperienced Writer." Computers in the Composition Classroom. Eds. Michelle Sidler, Richard Morris, and Elixabeth Overman Smith. Boston: Bedford / St. Martin’s, 2008: 326-332. Print.
This article is about the ways students are using computers to write. A problem that students have had with revision is that they change out words, etc. instead of working on content issues, organization, etc. Hult argues that while the computer can make the revising process easier, students are currently having the same problem: they're not addressing larger order concerns. She cautions that the computer can't teach students how to write, but they can be useful tools for the process.
What's sad about this article is it's still the case. I have students who become almost angry with me when I make them focus on revisions other than word choice, and the fact that revision is not simply changing words around is shocking to at least half the class. It makes me wonder how they made it through all those years of school without being taught revision. This article also reiterates something I've said before: bad pedagogy is bad pedagogy whether you use technology or not. This seems to be one of the biggest issues in many of the readings we've come across so far.
What I thought was interesting about this video was it's connection to some of the other articles this week. Specifically when she suggests printing the essay out, marking it up with a red pen, and then going back to the computer.
This article is about the ways students are using computers to write. A problem that students have had with revision is that they change out words, etc. instead of working on content issues, organization, etc. Hult argues that while the computer can make the revising process easier, students are currently having the same problem: they're not addressing larger order concerns. She cautions that the computer can't teach students how to write, but they can be useful tools for the process.
What's sad about this article is it's still the case. I have students who become almost angry with me when I make them focus on revisions other than word choice, and the fact that revision is not simply changing words around is shocking to at least half the class. It makes me wonder how they made it through all those years of school without being taught revision. This article also reiterates something I've said before: bad pedagogy is bad pedagogy whether you use technology or not. This seems to be one of the biggest issues in many of the readings we've come across so far.
What I thought was interesting about this video was it's connection to some of the other articles this week. Specifically when she suggests printing the essay out, marking it up with a red pen, and then going back to the computer.
Wednesday, October 19, 2011
Multimodal Composition Ch. 5
Keller, Daniel. "Thinking Rhetorically." Multimodal Composition: Resources for Teachers. Ed. Cynthia L. Selfe. Cresskill, NJ: Hampton Press, 2007: 49-63. Print.
This author raises some very important questions in regard to the rhetoric of multimodal composition and teachers ability to teach this type of composing rhetorically. In considering the application of rhetoric to these types of compositions, it is suggested that exploring more types of texts (alphabetic, aural and visual), we can help our students learn and engage in these 21st century literacies at a level beyond "learning the newest technology."
I like the bridge that Keller built between rhetorical theory and multimodal compositions because I do agree that the medium or modality that you use can in fact be it's own appeal. That the delivery of these compositions has become more intertwined with the invention than texts before. I think it is important for students to learn about the communities and conversations that they're hoping to participate in with these compositions.
This author raises some very important questions in regard to the rhetoric of multimodal composition and teachers ability to teach this type of composing rhetorically. In considering the application of rhetoric to these types of compositions, it is suggested that exploring more types of texts (alphabetic, aural and visual), we can help our students learn and engage in these 21st century literacies at a level beyond "learning the newest technology."
I like the bridge that Keller built between rhetorical theory and multimodal compositions because I do agree that the medium or modality that you use can in fact be it's own appeal. That the delivery of these compositions has become more intertwined with the invention than texts before. I think it is important for students to learn about the communities and conversations that they're hoping to participate in with these compositions.
Multimodal Composition Ch. 3
Hess, Mickey. "Composing Multimodal Assignments." Multimodal Composition: Resources for Teachers. Ed. Cynthia L. Selfe. Cresskill, NJ: Hampton Press, 2007: 29-37. Print.
The author supports open ended assignments for all composing, but especially for multimodal composing as it allows students to be more productive in thinking about the how and why of their projects. Theory, structure and choice, and circulation are the three pedagogical areas that the author says all teachers who compose open ended assignments need to address. He suggests revising and revitalizing theories of composition, and in turn keeping in mind that these multimodal assignments need to function within existing pedagogy. The author examines rhetorical canons as evidence and support for multimodal assignments: allow students to use all available means. The majority of the chapter focuses on a sample assignment that allows for different modalities, group work, exploration and reflection. They also encourage faculty to create their own multimodal compositions in order to offer tips for success. Hess also argues that circulation is necessary in considering assignment design because multimodal assignments allow for a wider range of delivery. At the end of the chapter a to do list is offered that suggests making a timeline, devoting time to the tech side, inviting specialists into the classroom, design with peer response in mind, remind students to incorporate writing in this composing process, and help students engage in research.
I liked the open-ended assignment suggestions as well as the emphasis on using the modalities that best suit what you're trying to say. It felt like a bit of a how to, but like the previous chapter, I think it's something that is necessary at this point in the research/scholarship.
I particularly like the emphasis on this site being a Web 2.0 toolkit.
Multimodal Composition Ch. 2
Selfe, Cynthia, Stephanie Owen Fleischer and Susan Wright. "Words, Audio, and Video: Composing and the Processes of Production." Multimodal Composition: Resources for Teachers. Ed. Cynthia L. Selfe. Cresskill, NJ: Hampton Press, 2007: 13-28. Print.
In this chapter, the authors focus on giving outlines and explanations for composing with words, sound and video. They examine the challenges of teaching with audio and video, and then provide to sample assignments that focus on multimodal composition. Finally, they focus on the "how" of these types of assignments by going through the hardware, software and additional equipment needed in order for students to do these assignments and then share them.
I particularly liked the focus of not only giving instructions an avenue to take, but explaining how to get there. We often see theories about what we should be doing without the examination of how to put the theory into practice. Between the assignments, the evaluation sheets, the examination of possible issues and the necessary equipment, they do a nice job of preparing a teacher that has never done this before, but also giving the teacher who has some multimodal experience new ideas or direction. I like that the assignments tended to focus on literacy. It reminded me of Downs and Wardle's argument for us to have students learn about writing in these writing classes we teach.
While not directly related to teaching, this website is a dictionary for terminology used in film video and audio.
In this chapter, the authors focus on giving outlines and explanations for composing with words, sound and video. They examine the challenges of teaching with audio and video, and then provide to sample assignments that focus on multimodal composition. Finally, they focus on the "how" of these types of assignments by going through the hardware, software and additional equipment needed in order for students to do these assignments and then share them.
I particularly liked the focus of not only giving instructions an avenue to take, but explaining how to get there. We often see theories about what we should be doing without the examination of how to put the theory into practice. Between the assignments, the evaluation sheets, the examination of possible issues and the necessary equipment, they do a nice job of preparing a teacher that has never done this before, but also giving the teacher who has some multimodal experience new ideas or direction. I like that the assignments tended to focus on literacy. It reminded me of Downs and Wardle's argument for us to have students learn about writing in these writing classes we teach.
While not directly related to teaching, this website is a dictionary for terminology used in film video and audio.
Monday, October 10, 2011
Multimodal Composition Ch. 13
Cooper, Marilyn, M. "Learning Digital Literacies." Multimodal Composition: Resources for Teachers. Ed. Cynthia L. Selfe. Cresskill, NJ: Hampton Press, 2007: 181-186. Print.
This article started with the importance of paying attention to digital literacy. The author gave a summary of what digital literacy is in addition to discussing its importance. Following this, the author gives five strategies for teaching digital literacy. These strategies include: teaching the context of the technology, giving adequate motivation to learn it, giving enough time for learning and doing a good job, providing enough assistance, and providing opportunities to learn and problem solve with classmates. Overall, her argument is that these skills are essential to social practices and that it's not just about keeping up with the most recent technology.
This article came at an interesting time-I was researching digital literacy last week for another class. Some of the interesting information that I found was that many define it differently; however, at this point, many do agree it's more than just learning how to work a technology. Especially in a Web 2.0 world. Specifically, a particular article discussed digital literacy as directly related to a historical literacy (literacy practices throughout a lifetime). On the other hand, another article that I read last week suggested that the new digital literacy is going to necessitate programming.
I'm linking to this blog because I found the image to be funny. It came up in a Google search.
This article started with the importance of paying attention to digital literacy. The author gave a summary of what digital literacy is in addition to discussing its importance. Following this, the author gives five strategies for teaching digital literacy. These strategies include: teaching the context of the technology, giving adequate motivation to learn it, giving enough time for learning and doing a good job, providing enough assistance, and providing opportunities to learn and problem solve with classmates. Overall, her argument is that these skills are essential to social practices and that it's not just about keeping up with the most recent technology.
This article came at an interesting time-I was researching digital literacy last week for another class. Some of the interesting information that I found was that many define it differently; however, at this point, many do agree it's more than just learning how to work a technology. Especially in a Web 2.0 world. Specifically, a particular article discussed digital literacy as directly related to a historical literacy (literacy practices throughout a lifetime). On the other hand, another article that I read last week suggested that the new digital literacy is going to necessitate programming.
I'm linking to this blog because I found the image to be funny. It came up in a Google search.
Multimodal Composition Ch. 1
Takayoshi, Pamela, Cynthia L. Selfe. "Thinking about Modality." Multimodal Composition: Resources for Teachers. Ed. Cynthia L. Selfe. Cresskill, NJ: Hampton Press, 2007: 1-12. Print.
The first chapter of this book explains what multimodality is and why its necessary for the current and future composition classroom. There is an emphasis put on mulimodal composition as independent from digital composition: you don't need technology in order to create multimodal compositions. Just as Selfe has previously argued, we need to "pay attention" to multimodal composing. The chapter then discusses the reasons for this attention included the increasing necessity to be able to both read and produce these texts, expanding the definition of composition, the emphasis of the authoring of these compositions as engaging, the important of rhetoric, and the connection between this type of composing and valued pedagogical goals. This discussion is followed by a list and discussion of reasonable concerns related to both technology and multi-modality.
I particularly like the emphasis on not needing technology to be multi-modal. In one of my courses I require a visual argument with the understanding that everyone is "tech savvy." I allow my students to create a "hard copy" of this argument and either take a photo or scan it in. This allows them to be creative in whatever way they are comfortable, but still create something they can turn in in an online course. I also liked that we're reading this book I suppose because of my surprised with the article in CCC.
The first chapter of this book explains what multimodality is and why its necessary for the current and future composition classroom. There is an emphasis put on mulimodal composition as independent from digital composition: you don't need technology in order to create multimodal compositions. Just as Selfe has previously argued, we need to "pay attention" to multimodal composing. The chapter then discusses the reasons for this attention included the increasing necessity to be able to both read and produce these texts, expanding the definition of composition, the emphasis of the authoring of these compositions as engaging, the important of rhetoric, and the connection between this type of composing and valued pedagogical goals. This discussion is followed by a list and discussion of reasonable concerns related to both technology and multi-modality.
I particularly like the emphasis on not needing technology to be multi-modal. In one of my courses I require a visual argument with the understanding that everyone is "tech savvy." I allow my students to create a "hard copy" of this argument and either take a photo or scan it in. This allows them to be creative in whatever way they are comfortable, but still create something they can turn in in an online course. I also liked that we're reading this book I suppose because of my surprised with the article in CCC.
Palmquist, et al. Contrasts: Teaching and Learning about Wriitng in Traditional and Computer Classrooms
Palmquist, Mike, Kate Kiefer, James Hartvigsen, and Barbara Goodlew. "Contrasts: Teaching and Learning about Writing in Traditional and Computer Classrooms." Computers in the Composition Classroom. Eds. Michelle Sidler, Richard Morris, and Elixabeth Overman Smith. Boston: Bedford / St. Martin’s, 2008: 251-270. Print.
The article explores the pedagogical practices of teachers that teach writing classes in both a "traditional" classroom and a computer classroom. The authors set out to discuss the differences between the classes. They look at teaching strategies, class preparation, teacher attitudes toward both types of teaching situations, interactions between all parties involved (student to teacher, student to student), students attitudes toward writing and student writing performance. They claim that there is a continuum of change: teachers take what works in one classroom (particularly the computer classrooms) and integrate it into other settings. Specifically, the teachers in this study took their roles of facilitator in the computer classroom and worked to recreate this in the traditional classroom. The authors propose that the computer classrooms enable the building of skills that typically don't receive attention in the traditional classroom that centers around grammar and mechanics. However, the use of the technology itself is highly dependent on teacher comfort level.
In the beginning of the article, I was surprised that the traditional classroom teachers were still using a teacher centric model. Later, it was stated that the reason was because students in the class were resistant to doing the in class writing and group work. I suppose I was surprised because my experience has been the opposite. I've always had a positive response from students when having them write in the classroom without computers. Then I looked at the original date and thought maybe it had something to do with the date of publication. I wonder if the computer had already influenced the teaching of teachers by the time I took my Teaching College Comp course.
Thought this was interesting:
The article explores the pedagogical practices of teachers that teach writing classes in both a "traditional" classroom and a computer classroom. The authors set out to discuss the differences between the classes. They look at teaching strategies, class preparation, teacher attitudes toward both types of teaching situations, interactions between all parties involved (student to teacher, student to student), students attitudes toward writing and student writing performance. They claim that there is a continuum of change: teachers take what works in one classroom (particularly the computer classrooms) and integrate it into other settings. Specifically, the teachers in this study took their roles of facilitator in the computer classroom and worked to recreate this in the traditional classroom. The authors propose that the computer classrooms enable the building of skills that typically don't receive attention in the traditional classroom that centers around grammar and mechanics. However, the use of the technology itself is highly dependent on teacher comfort level.
In the beginning of the article, I was surprised that the traditional classroom teachers were still using a teacher centric model. Later, it was stated that the reason was because students in the class were resistant to doing the in class writing and group work. I suppose I was surprised because my experience has been the opposite. I've always had a positive response from students when having them write in the classroom without computers. Then I looked at the original date and thought maybe it had something to do with the date of publication. I wonder if the computer had already influenced the teaching of teachers by the time I took my Teaching College Comp course.
Thought this was interesting:
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