Open to Integration: Incorporating Open Resources into Teaching and Learning ...Robyn Hall
Webinar presented for OA Week at the Nova Scotia Community College on October 24, 2013.
Abstract: Questions abound in higher education about both the quality and the sustainability of “open” resources such as open access journals, open education resources, open data, and massive open online courses (MOOCs). Against a backdrop of potential areas of concern, this session will address simple and practical ways to integrate open resources into teaching and learning activities and services. Participants will be encouraged to consider possibilities these resources have to offer colleges and universities that share a commitment to fostering critical thinking and lifelong learning skills among students while contending with financial challenges and constraints.
Presentation delivered at Newport Business School 22 April 2009 as part of their 'Creative Thinking' lunchtime seminar series. Used as a pilot / first draft for some ideas I am developing for longer term work.
Open to Integration: Incorporating Open Resources into Teaching and Learning ...Robyn Hall
Webinar presented for OA Week at the Nova Scotia Community College on October 24, 2013.
Abstract: Questions abound in higher education about both the quality and the sustainability of “open” resources such as open access journals, open education resources, open data, and massive open online courses (MOOCs). Against a backdrop of potential areas of concern, this session will address simple and practical ways to integrate open resources into teaching and learning activities and services. Participants will be encouraged to consider possibilities these resources have to offer colleges and universities that share a commitment to fostering critical thinking and lifelong learning skills among students while contending with financial challenges and constraints.
Presentation delivered at Newport Business School 22 April 2009 as part of their 'Creative Thinking' lunchtime seminar series. Used as a pilot / first draft for some ideas I am developing for longer term work.
Embracing uncertainty: collaboration as learningDave Cormier
Keynote for AACUSS conference at UPEI. Great audience feedback... some of it was included in the uploaded powerpoint. Did some work breaking out the cynefin framework.
Presentation features rhizomatic stuff focused on a student services audience.
My Embedded World…or…How I Got Started As a Librarian In BlackboardCurriculumCollection
presentation by Amanda Pape, Tarleton State University, in “Embedded Librarianship:
The Good, The Bad, and The Ugly” panel at Texas Library Association Conference, Fort Worth – April 27, 2013
"Community Without Compromise..." CHEP 2014Emory Maiden
Slides developed with Dr. Tracy Smith for the 2014 CHEP conference on "Community Without Compromise: Cultivating Interactivity in Online and Blended Learning Environments"
These are my slides from a pre-conference workshop I co-ran with John Sandars from the University of Sheffield at AMEE 2014 in Milan, Italy. The workshop title was 'How to create personalised learning opportunities in the information age: Essential skills for the 21st century teacher'. John gave an overview of personalised learning to kick things off and looked at some relevant learning theories.
I went on to give an overview of how I've used technology to support and personalise my learning. Following some group work I went on to look at some current trends around personalised learning and consider some of the implications.
The key to supporting students to create personalised learning is for both the teacher and the learner to understand how technology can support this and John covered this in the final section of the workshop.
Embracing uncertainty: collaboration as learningDave Cormier
Keynote for AACUSS conference at UPEI. Great audience feedback... some of it was included in the uploaded powerpoint. Did some work breaking out the cynefin framework.
Presentation features rhizomatic stuff focused on a student services audience.
My Embedded World…or…How I Got Started As a Librarian In BlackboardCurriculumCollection
presentation by Amanda Pape, Tarleton State University, in “Embedded Librarianship:
The Good, The Bad, and The Ugly” panel at Texas Library Association Conference, Fort Worth – April 27, 2013
"Community Without Compromise..." CHEP 2014Emory Maiden
Slides developed with Dr. Tracy Smith for the 2014 CHEP conference on "Community Without Compromise: Cultivating Interactivity in Online and Blended Learning Environments"
These are my slides from a pre-conference workshop I co-ran with John Sandars from the University of Sheffield at AMEE 2014 in Milan, Italy. The workshop title was 'How to create personalised learning opportunities in the information age: Essential skills for the 21st century teacher'. John gave an overview of personalised learning to kick things off and looked at some relevant learning theories.
I went on to give an overview of how I've used technology to support and personalise my learning. Following some group work I went on to look at some current trends around personalised learning and consider some of the implications.
The key to supporting students to create personalised learning is for both the teacher and the learner to understand how technology can support this and John covered this in the final section of the workshop.
SA - Nordic collaboration in an Education 3.0 worldDerek Keats
Southeren Africa - Nordic collaboration in an Education 3.0 world. Presentation that I gave at the SANORD Centre Conference entitled Higher Education, Research and Development: Shifting Chalenges and Opportunities, 5-7 December 2007.
Story of an online course "Facilitating Online"Sarah Stewart
This is the story of an open online course "Facilitating Online", developed by Leigh Blackall and Bronwyn Hegarty, and currently facilitated by myself.
The 2009 version of the course can be found here:
http://en.wikiversity.org/wiki/Facilitating_Online
And discussion about the course can be found here:
http://sarah-stewart.blogspot.com/2010/01/working-out-difference-between-teaching.html
and
http://sarah-stewart.blogspot.com/2009/12/facilitating-online-2009-evaluation.html
Open SUNY COTE Summit 2017 - Open SUNY Center for Online Teaching Excellence (https://commons.suny.edu/cotehub/)
Annual conference for the SUNY online teaching and learning community of practice.
March 8-10, 2017, Syracuse, NY.
Opening remarks and General Summit 2017 slides.
Conference website: http://opensunycotesummit2017.edublogs.org/
Program: http://opensunycotesummit2017.edublogs.org/about/program/#.WMvhhP21vZs
Recordings: http://opensunycotesummit2017.edublogs.org/mediasite/#.WMvkv_21vZs
Materials: http://opensunycotesummit2017.edublogs.org/mediasite/#.WMvkv_21vZs
Open SUNY COTE: http://commons.suny.edu/cote/
Social Teaching Strategies for Engaging Today's Active LearnerJason Rhode
The prevalence and widespread use of social media tools make possible a seemingly endless array of ways to share ideas and build new knowledge. During this keynote presentation on March 29, 2013 at Western Illinois University Symposium on Teaching, Research, and Creative Activities by Jason Rhode, we considered how students today are using social media in their daily lives and explore together how social media can be used to actively engage students in the learning process, both in and outside the classroom. A social teaching framework was shared as well as principles and best practices for leveraging social media in teaching and learning. Participants were encouraged to bring their own device to actively participate in the conversation!
Online and mobile versions of the handout accompanying the slides is available at http://j.mp/socialteaching
Session hashtag, for tweeting or other social media uses: #socialteaching
Online Teaching - Breaking the Distance Barrierslister
A presentation for the Institution of Engineers in Sri Lanka - March, 2009.
Please visit: http://www.iesl.lk/ to find out more about IESL or go to - http://www.nodes.lk to learn more about the National Online Distance Education Service
International trends in learning analytics (SAHELA conference)Doug Clow
Slides for a keynote presentation on international trends in learning analytics, given by Doug Clow (online) at the SAHELA (South Africa Higher Education Learning Analytics) conference, 15 Sep 2014.
Social media and technology-enhanced learningSarah Stewart
Presentation about how you can use social media for teaching and learning in higher education, given at the University of the West Country, UK on September 3rd 2012.
VRA 2023 Collections Management in Fashion and Media session. Presenter: Wen Nie Ng
The goal of the paper is to enhance the metadata standard of fashion collections by expanding the controlled vocabulary and metadata elements for Costume Core, a metadata schema designed specifically for fashion artifacts. Various techniques are employed to achieve this goal, including identifying new descriptors using word embedding similarity measurements and adding new descriptive terms for precise artifact descriptions to use when re-cataloging a university fashion collection in Costume Core. The paper also provides a sneak peek of the Model Output Confirmative Helper Application, which simplifies the vocabulary review process. Additionally, a survey was conducted to collect insights into how other fashion professionals use metadata when describing dress artifacts. The survey results reveal 1) commonly used metadata standards in the historic fashion domain; 2) sample metadata respondents use; and 3) partial potential metadata that can be appended to Costume Core, which is relevant to Virginia Tech's Oris Glisson Historic Costume and Textile Collection. The expanded Costume Core resulting from the project offers a more comprehensive way of describing fashion collection holdings/artifacts. It has the potential to be adopted by the fashion collections to produce metadata that is findable, accessible, interoperable, and reusable.
VRA 2023 Adventures in Critical Cataloging session. Presenters: Sara Schumacher and Millicent Fullmer
This paper will cover the results of a research study looking at visual resources professionals' perceptions of the visual canon at their institutions and their actions confronting biases in their visual collections. This research is innovative because the "visual canon" as a concept is often evoked but rarely defined, and there has not been research into perceptions and practices that span different types of cultural heritage institutions. The researchers seek to focus on the role of the visual resources professional as a potential change-maker in confronting bias and transforming the “visual canon.” In our presentation, we will discuss the analysis of our survey and interviews around three key research questions: What barriers do visual resources professionals perceive in remedying the biases in the visual canon? What authorities, past and present, do they identify in shaping the visual canon? How do they approach teaching users to identify and critically confront these issues? We will highlight trends as well as unique concerns and solutions from our research participants and engage our audience with how these issues impact their own collections, policies, and instruction.
VRA 2023 Beyond the Classroom: Developing Image Databases for Research session. Presenter: John J. Taormina
The Medieval Kingdom of Sicily Image Database project collects historic images of the medieval monuments of South Italy, from the so-called Kingdom of Sicily dating from c. 950 to c. 1430, during the Norman, Hohenstaufen, Angevin, and early Aragonese periods. The project was begun in 2011, as part of a 3-year Collaborative Research Grant from the National Endowment for the Humanities, under project investigators Caroline Bruzelius, Duke University, and William Tronzo, University of California, San Diego.
The site features over 8,000 historical images in a range of media, including drawings, paintings, engravings, photographs, and plans and elevations culled from museums, archives, and libraries in Europe and America, often from the Grand Tour, as well as from available publications. The value of the database lies in making accessible to scholars the visual documentation of changes to historical sites because the medieval monuments of South Italy have been damaged, changed, and restored on many occasions, with tombs and liturgical furnishings often destroyed, dismantled, or removed. In fact, many of the 600 monuments no longer exist, often bombed during World War II or destroyed in earthquakes, or obscured by modern buildings and urban sprawl.
VRA 2023 Archives Tools and Techniques session. Presenters: Maureen Burns and Lavinia Ciuffa
The Ernest Nash collection documents ancient Roman architecture in pre- and post-World War II Italy. What made Nash's work significant, beyond capturing the present state of the ancient Roman monuments at a volatile historical moment, was the primacy of the topographical photography and the systematic order he brought to this subject. The American Academy's Photographic Archive contributed Nash's images to an open access, interactive website called the "Urban Legacy of Ancient Rome." It reveals the city in stunning detail and uses geo-referencing to provide the viewer with a better understanding of the overall contextual and spatial logic. These Nash images and metadata are also IIIF compatible. As the Academy continues to digitize and describe the full collection of about 30,000 images, thanks to the generous support of the Kress Foundation, a new partnership has developed with Archivision and vrcHost. Current high quality digital photographs of the same ancient Roman monuments are being added to compare with the historical images documenting architectural changes--whether conserved, restored, altered, reconstructed, re-sited or destroyed. This presentation will provide a progress report about what it takes to move new digital photography into IIIF and the various tools available for close examination and presentation. Finding ways to provide ready access and juxtapose historic and contemporary photography online, builds upon the legacy of Nash's quality curation and scholarship to create 21st century, accessible, online educational resources of great interest and utility to scholars, students, and a wide audience of ancient Roman enthusiasts.
VRA 2023 Exploring 3D Technologies in the Classroom session. Presenter: Amy McKenna
Amy McKenna (Williams College) discusses her project that uses Photoshop and cardboard 3D glasses to recreate the 19th-century spectacle of a historic glass stereo collection.
VRA 2023 Keynote. Presenter: Melissa Gohlke
A historical record that focuses on white, heteronormative society and events obscures many facets of San Antonio history. Peel back the veneer of normalcy and one can find rich, diverse, and unexpected strands of the city’s past. From female impersonators of the early 1900s to queer life in derelict spaces during the 1960s and finally, gay and lesbian bar culture of the1970s and beyond, the hidden threads of San Antonio’s history reveal themselves. In this presentation, LGBTQ Historian Melissa Gohlke explores these hidden histories and stitches together an alternative interpretation of the city’s historical narrative by examining a wealth of primary sources found in archives and personal collections.
About the speaker:
Melissa Gohlke is an urban historian who specializes in San Antonio LGBTQ+ history. For over a decade, Gohlke has been researching queer history in San Antonio and South Texas and sharing her passion for this history through extensive outreach activities such as presentations, media interactions, exhibits, and written work. Gohlke is the Assistant Archivist for UTSA Libraries Special Collections.
About the VRA:
The Visual Resources Association is a multidisciplinary organization dedicated to furthering research and education in the field of image management within the educational, cultural heritage, and commercial environments.
VRA 2023 Beyond the Classroom: Developing Image Databases for Research session. Presenter: Mark Pompelia
Material Order is an academic consortium of material sample collections (including wood, metal, glass, ceramic, polymers, plastics, textiles, bio-materials, etc.—any material that might be used in or considered for art, architecture, and design disciplines) founded by the Graduate School of Design at Harvard University and Fleet Library at Rhode Island School of Design and now comprising several more institutions in the US. It provides a community-based approach to management and access to material collections utilizing and developing standards and best practices. Material Order created the Materials Profile that serves as a shared cataloging tool on the LYRASIS CollectionSpace platform and can be further developed as the different needs of consortium members are identified. Open Web searching across all collections occurs via a front-end discovery portal built with Wordpress at materialorder.org.
The Material Order project was born from the acknowledgment that resource sharing and collaborative catalogs are the most promising approach to exploration and implementation. It was always the intent, now actualized, for partner institutions with different mission and scope to compel the project to consider and accommodate criteria such as material health ecologies, fabrication possibilities, and overlap into adjacent fields such as engineering and archeology. Thus, Material Order represents not just items on a shelf but a knowledge-base of compositions, uses, forms, and properties. No longer in its infancy, Material Order provides a shared and adaptable framework for managing collections across the consortium and optimal facilitation of materials-based research and exploration for art, architecture, and design applications.
VRA 2023 New Frontiers in Visual Resources session. Presenters: Meghan Rubenstein and Kate Leonard
The Art Department at Colorado College is piloting a Personal Archiving program in select undergraduate studio courses that combines visual and digital literacy instruction with personal reflection and professional development. Meghan Rubenstein, Curator of Visual Resources, and Kate Leonard, Professor of Art, will discuss the drive behind this initiative to develop student competencies within a liberal arts setting. We will share our ongoing iterative process as well as select student activities and learning outcomes that may be adopted to various institutions.
VRA 2022 Teaching Visual Literacy session. Presenter: Molly Schoen
Our everyday lives are more saturated in images and videos than any other time in human history. This fact alone underscores the need to implement visual literacy skills in all stages of education, from pre-K to post-grad. Learning how to read images with critical, analytical eyes is crucial to understanding the world around us as we see it represented in the news, social media, advertisements, etc. New technologies have exasperated this already urgent need for visual literacy education. Synthetic media, deepfakes, APIs, bot farms, and other forms of artificial intelligence have many innovative uses, but bad actors also use them to fan the flames of disinformation. We have seen the grave consequences from this age of disinformation, from undermining elections to attempts to delegitimize science and doctors, undoubtedly raising the death toll from the COVID-19 pandemic. What do we need to know about these new forms of altered images made by artificial intelligence? How do we discern between real, human-made content versus fakes made by computers, which are becoming more and more difficult to discern? This paper aims to raise awareness of how new forms of visual media can manipulate and deceive the viewer. Audience participants will learn how to empower themselves and their peers into being more savvy consumers of visual materials by understanding the basics of AI and recognizing the characteristics of faked media.
VRA 2022 Individual Papers Session. Presenter: Malia Van Heukelem
This case study of a large artist archive at a medium sized academic research library will connect the success of the artist serving as his own archivist and the collection's broad research appeal locally, nationally and internationally. Like many artists, there is so much more than his own work represented. There is correspondence, fine art prints, ephemera of other artists and writers hidden in the collection. The foundation of organization is in place; now the focus is on creating online access points through finding aids and image collections. The presentation will explore the use of ArchivesSpace, Omeka, and other software to increase access. It will also demonstrate how a solo archivist can leverage interns, student assistants, and volunteers for collections management projects that benefit both the institutional priorities and desired learning outcomes. This talk will delve into the challenges of 20th century visual resource collections such as copyright and engagement with donors. Featuring a local artist has brought other art and architecture collections to the library, without clear boundaries which has led to questions of sustainability, who and what is collected. There is definitely a need to balance the historical record and yet, there are already more archival collections accessioned than can be responsibly managed by one person. The primary collection does include works by women and artists of color, yet much descriptive work remains to forefront the diversity contained within. As an archivist and librarian at a public university, there are many competing demands for collections management, support of researchers, and instruction plus the added interest for exhibition loans and the desire for other artists and architects to be represented. This artist archive is both interesting and complex.
VRA 2022 Critical Cataloging Conversations in Teaching, Research, and Practice session. Presenters: Megan Macken, Louise Siddons
Prior to the fall of 2020, the historic record of art exhibitions held at Oklahoma State University (OSU) was available only in incomplete, unprocessed archival materials. Students in Louise Siddons’ fall 2020 History of American Art course conducted research in the digitized student newspaper archive to begin documenting OSU art exhibitions since 1960. The resulting database was shared with the public with the intention of building on the project in future courses. Throughout the project both students and faculty engaged in critical cataloging.
Using the exhibition dataset they had created, students completed two analytical assignments: a traditional art history essay in which they considered one exhibition closely, and a critical reflection prompting them to consider their new understanding of the university’s history based on the aggregation of exhibitions. As gaps and surprises in representation appeared, students developed a more nuanced picture of institutional culture in the latter half of the 20th century.
After the course concluded, art history and library faculty standardized the student-generated data in preparation for sharing on other platforms such as Wikidata. Some artists who have exhibited at OSU also have interviews in the OSU oral history collections, and intersections between these projects and the questions raised by surfacing this metadata were explored. In the process issues emerged around artists’ preferred ways of identifying themselves as well as the difficulties of achieving a balance between increased representation of artists on the margins and respect for the privacy of living artists.
VRA 2022 session. Organizer/Moderator: Allan T. Kohl. Speakers: Virginia (Macie) Hall, Christina Updike, Marcia Focht, Rebecca Moss, Steven Kowalik, Jenni Rodda
During the past year, the “Great Resignation” (aka. The “Big Quit”) has roiled the world of employment nationwide in the wake of the COVID-19 pandemic, which had already caused job losses among our membership. While many institutions and individuals now hope for a “return to normal,” others anticipate that the past two years mark a watershed necessitating further transformational changes in the years ahead. These larger employment trends have come on top of quantum shifts in the visual resources field itself, as traditional tasks give way to new responsibilities, and siloed image collections are replaced by interdisciplinary projects.
For several years, our annual conferences have featured the perspectives of newer professionals in “Stories from the Start.” Looking at the opposite ends of their career arcs, this session brings together the perspectives and experiences of two pre-pandemic retirees, two of our members who made their decisions to retire during the past year, and two currently active professionals whose retirements are pending in the near future. When and why did they make their decisions to retire? What was/is the actual process? Concerns? What comes next after we leave our offices for the last time?
VRA 2022 Digital Art History session. Presenters: Melissa Becher and Samuel Sadow
In 2019, the art history program at American University gave its masters students a new option for the capstone project that is the culmination of the degree: create a digital project on an art historical topic using Omeka S or Wordpress. Initially, only a single student chose to complete a digital capstone over a traditional thesis, but within two years there was near parity between the two options, meaning seven digital capstones for the 2021 cohort. To support these projects, a close partnership quickly developed between the University’s library, the visual resources center, and the archives. This session covers how three campus units coordinate that support for these innovative digital humanities projects, including administration of the platforms, instruction, technical support, preservation, and access to the final projects. The session will also showcase examples of student work to demonstrate the variety and creativity of projects that can be accomplished using these platforms, as well as their contributions to the field of art history. The outcome of this initiative is clear: the best of digital humanities, weaving design and technology with rigorous art historical research, and finished projects that have already resulted in successful job applications in the field.
VRA 2022 Material Objects and Special Collections session. Presenters: Allan T. Kohl and Jackie Spafford
Materials-based collections represent a challenging new mode of information management in terms of subject specialization, physical description and accommodation, and institutional mission. Building upon the successful introductory meeting of this Group in Los Angeles at the 2019 Conference, the goal of this SIG is to provide a forum for open discussion of Material and Object Collections and their relationship to various library/visual resources tasks. The Material and Object Collections SIG provides an opportunity for individuals working with a variety of materials and objects collections – including those that support art and art history courses, those that support architecture and design courses, and those in cultural heritage organizations – to share ideas, issues, and potential solutions in regard to tasks similar to common library/visual resources activities (including cataloging, documentation, staffing, outreach), as well as more specialized concerns relating to the management of physical objects (security, storage and retrieval, the design of user spaces, etc.).
By continuing to offer an opportunity for participants to share brief introductions and profiles of their collections, we hope to encourage networking and exchange information about sources for specialized items; to display sample items and share surplus samples with other collections; and to provide examples of successful solutions to typical problems. Our long-range goal is to maintain an ongoing support group that can be of particular benefit to those professionals who are in the beginning stages of building or organizing physical collections.
VRA 2022 Digital Art History session. Moderator: Otto Luna
Exploration of visualization tools in the Digital Humanities/Digital Art History realm. Presenter: Catherine Adams
Assessing the use of Qualitative Data Analysis Software (QDAS) by Art Historians and Archaeologists. Presenter: Kayla Olson
Supporting Art History Students’ Digital Projects at American University. Presenters: Samuel Sadow and Melissa Becher
VRA 2022 Digital Art History session. Presenter: Kayla Olson
This paper discusses a study (completed in the spring of 2021) which explores how common the use of Qualitative Data Analysis software (QDAS) is among two kinds of object-based researchers: art historians and archaeologists. Surveys were disseminated in a snowball fashion and contained open and closed questions. The questions sought to give participants a platform to describe if, why, and how they use programs like Atlas.ti, NVivo, Dedoose, and MAXQDA throughout their research process. While not QDAS, the image management application Tropy was also included. The author hopes that the anonymized responses will prompt discussion among professionals in academic librarianship and visual resources management about the possible impact of these digital tools on researchers in these disciplines. The question remains on whether researchers in art and material culture disciplines would benefit more from QDAS if participants were aware of: 1) Their existence and 2) Their ability to help organize artifact data and to assist in performing image-based analysis.
VRA 2022 Critical Cataloging Conversations in Teaching, Research, and Practice session. Presenter: Ann M. Graf, Assistant Professor of Library and Information Science, Simmons University
In the field of information science, we strive to provide access to information through the most efficient means possible. This is often done through the use of controlled vocabularies for description of subjects, and, in the case of art objects, for the identification of styles, processes, materials, and types. My research has examined the sufficiency of controlled vocabularies such as the Art and Architecture Thesaurus (AAT) for description of graffiti art processes and products. This research is evolving as the AAT is responding to warrant for a broader set of terms to represent outsider art communities such as the graffiti art community. The methods used to study terminological warrant by examining the language of the graffiti art community are helpful to give voice to artists who work outside the traditional art institution, allowing the way that they talk about their work and how they describe it to become part of the common discourse. It is hoped that this research will inspire others who design and supplement controlled vocabularies for use in the arts to give priority in descriptive practice to those who have been historically underrepresented or made invisible by default use of terminology that does not speak to their experiences.
VRA 2022 Session. Presenter: Douglas Peterson
In 2021, the National Archives of Estonia engaged Digital Transitions’ Service division, Pixel Acuity, to build an Artificial Intelligence (AI) tool to analyze part of its historic record. The objective was to use this tool to enhance their collection with descriptive metadata that identified persons of interest in a collection of over 8,000 photographic glass plate negatives, a task that would ordinarily take years of human labor. In this presentation, we discuss our approach to accurately detecting and identifying human subjects in transmissive media, our initial findings using commercially available AI models, and the subsequent refinements made to our workflow to generate the most accurate metadata. In addition to working with commercially available AI models, we developed strategies for validation of AI-generated results without additional human supervision, and explored the benefits of building bespoke, heritage-specific AI models. By combining all of these tools, we developed a highly customized solution that greatly expedited accurate metadata generation with minimal human oversight, operated efficiently on large collections, and supported discovery of novel content within the archive.
VRA 2022 Community Building Session. Presenter: Dacia Metes
Queens Memory is an ongoing community archiving program that engages with our local communities in our two-fold mission to (1) push local history collections out to the public through programming and online resources, and (2) pull new materials into our collections from the diverse communities of Queens, NYC. The COVID-19 pandemic forced us to close our buildings, cease all in-person work and programming and shift our work to the virtual world. Our team quickly modified our processing workflow and asset tracking with the high volume of crowd-sourced donations coming through new online submission forms, set up in a rapid response to capture the stories coming from the pandemic’s first epicenter in the U.S. In my proposed conference session, I will discuss how we planned and managed the shift to fully online collection development. I will talk about our virtual outreach efforts to engage with the community and get them to contribute their materials, and how we developed the online tools and processes that allowed us to collect photographs, oral history interviews and other audio/visual materials, while also capturing the necessary metadata and consent forms. New internal communications channels, roles for volunteers, and triage processing for publication resulted from these efforts and are now essential parts of the team’s practices.
Instructions for Submissions thorugh G- Classroom.pptxJheel Barad
This presentation provides a briefing on how to upload submissions and documents in Google Classroom. It was prepared as part of an orientation for new Sainik School in-service teacher trainees. As a training officer, my goal is to ensure that you are comfortable and proficient with this essential tool for managing assignments and fostering student engagement.
June 3, 2024 Anti-Semitism Letter Sent to MIT President Kornbluth and MIT Cor...Levi Shapiro
Letter from the Congress of the United States regarding Anti-Semitism sent June 3rd to MIT President Sally Kornbluth, MIT Corp Chair, Mark Gorenberg
Dear Dr. Kornbluth and Mr. Gorenberg,
The US House of Representatives is deeply concerned by ongoing and pervasive acts of antisemitic
harassment and intimidation at the Massachusetts Institute of Technology (MIT). Failing to act decisively to ensure a safe learning environment for all students would be a grave dereliction of your responsibilities as President of MIT and Chair of the MIT Corporation.
This Congress will not stand idly by and allow an environment hostile to Jewish students to persist. The House believes that your institution is in violation of Title VI of the Civil Rights Act, and the inability or
unwillingness to rectify this violation through action requires accountability.
Postsecondary education is a unique opportunity for students to learn and have their ideas and beliefs challenged. However, universities receiving hundreds of millions of federal funds annually have denied
students that opportunity and have been hijacked to become venues for the promotion of terrorism, antisemitic harassment and intimidation, unlawful encampments, and in some cases, assaults and riots.
The House of Representatives will not countenance the use of federal funds to indoctrinate students into hateful, antisemitic, anti-American supporters of terrorism. Investigations into campus antisemitism by the Committee on Education and the Workforce and the Committee on Ways and Means have been expanded into a Congress-wide probe across all relevant jurisdictions to address this national crisis. The undersigned Committees will conduct oversight into the use of federal funds at MIT and its learning environment under authorities granted to each Committee.
• The Committee on Education and the Workforce has been investigating your institution since December 7, 2023. The Committee has broad jurisdiction over postsecondary education, including its compliance with Title VI of the Civil Rights Act, campus safety concerns over disruptions to the learning environment, and the awarding of federal student aid under the Higher Education Act.
• The Committee on Oversight and Accountability is investigating the sources of funding and other support flowing to groups espousing pro-Hamas propaganda and engaged in antisemitic harassment and intimidation of students. The Committee on Oversight and Accountability is the principal oversight committee of the US House of Representatives and has broad authority to investigate “any matter” at “any time” under House Rule X.
• The Committee on Ways and Means has been investigating several universities since November 15, 2023, when the Committee held a hearing entitled From Ivory Towers to Dark Corners: Investigating the Nexus Between Antisemitism, Tax-Exempt Universities, and Terror Financing. The Committee followed the hearing with letters to those institutions on January 10, 202
Introduction to AI for Nonprofits with Tapp NetworkTechSoup
Dive into the world of AI! Experts Jon Hill and Tareq Monaur will guide you through AI's role in enhancing nonprofit websites and basic marketing strategies, making it easy to understand and apply.
2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
Unit 8 - Information and Communication Technology (Paper I).pdfThiyagu K
This slides describes the basic concepts of ICT, basics of Email, Emerging Technology and Digital Initiatives in Education. This presentations aligns with the UGC Paper I syllabus.
Palestine last event orientationfvgnh .pptxRaedMohamed3
An EFL lesson about the current events in Palestine. It is intended to be for intermediate students who wish to increase their listening skills through a short lesson in power point.
The Roman Empire A Historical Colossus.pdfkaushalkr1407
The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
Under Augustus, the empire experienced the Pax Romana, a 200-year period of relative peace and stability. Augustus reformed the military, established efficient administrative systems, and initiated grand construction projects. The empire's borders expanded, encompassing territories from Britain to Egypt and from Spain to the Euphrates. Roman legions, renowned for their discipline and engineering prowess, secured and maintained these vast territories, building roads, fortifications, and cities that facilitated control and integration.
The Roman Empire’s society was hierarchical, with a rigid class system. At the top were the patricians, wealthy elites who held significant political power. Below them were the plebeians, free citizens with limited political influence, and the vast numbers of slaves who formed the backbone of the economy. The family unit was central, governed by the paterfamilias, the male head who held absolute authority.
Culturally, the Romans were eclectic, absorbing and adapting elements from the civilizations they encountered, particularly the Greeks. Roman art, literature, and philosophy reflected this synthesis, creating a rich cultural tapestry. Latin, the Roman language, became the lingua franca of the Western world, influencing numerous modern languages.
Roman architecture and engineering achievements were monumental. They perfected the arch, vault, and dome, constructing enduring structures like the Colosseum, Pantheon, and aqueducts. These engineering marvels not only showcased Roman ingenuity but also served practical purposes, from public entertainment to water supply.
Embracing GenAI - A Strategic ImperativePeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
1. Engaging New Technologies
Meghan Musolff
Special Projects Librarian
University of Michigan
Teaching + Learning
Visual Resources Association’s 31st Annual Conference
April 3rd – 6th 2013 Providence, Rhode Island
#VRA2013
Good afternoon. My colleague Betha Whitlow just discussed new technologies associated with the classroom. For my presentation, I’m going to focus on technologies for teaching and learning and provide examples of tools that can be used in these new learning spaces or…
as is more and more likely, for use in the massive expanded classroom of online courses (ok, this isn’t really an online course--it’s a Genesis concert, but you get the idea).
Throughout the years, the Engaging New Technologies presentations have encouraged us to think about our professional mission of keeping up-to-date--not only for our sake, but for the sake of our users--be they faculty, curators, or students.
And I think now more than ever, our educators, who are struggling to keep all theplates spinning at once, are depending on us for help. As information professionals, it's our role to promote literacy of digital tools among our users and help them understand the potential of these new technologies.
It’s about bridging the divide between what technologies are available and what are useful. Basically, we’re circus performers in cardigans.
So, while other presentations during this session focus on what we need to know, this presentation will focus the teaching/learning trends that are important to our faculty, instructors, and educators.
So, imagine you’re sitting at your desk and a faculty members comes in and asks:Tell me about these MOOC things.
One of the biggest trends in (or perhaps outside) the classroom is MOOCs. And while you might think that a MOOC is a character on Sesame Street (so, this is a tweet from one of my favorite Twitter accounts “Fake Library Stats, so obviously this is fake---yet so true)…
or perhaps a character on the Fraggles…
..the word is actually an acronym for Massive Open Online Courses. Let’s break that word down a bit. Massive: With these courses, the goal is large-scale enrollment and participation. It’s not always the case, but it’s the goal. Students can work at own pace.Open: In the beginning, these courses were put together using open available resources and offered free over the Internet. This has morphed into “no charge” rather than the using of open resources.Online: Hence, online. Having materials online, moves the education experience away from a location based endeavor. Now a student in India can take a class from Harvard (and vice versa).Courses: And finally, these platforms provide access to structured courses with learning goals and objectives, assignments and tests. In other words, courses.
So what do MOOCs tend to include? Well, there is a repository or hub where course materials are located--this includes syllabus, course readings, etc. There are usually recorded lectures. Sometimes there is a collaborative aspect: online forums or study groups through Google Hangouts, for example. And then assessment is done through easy to grade quizzes and tests.
There are a number of MOOC platforms and each works slightly different from the other. Certain MOOCs partner with institutions, for example Coursera and EdX.Coursera: A for-profit company founded by two computer-science professors from Stanford. The model is to sign contracts with colleges (Princeton, U of Virginia, University of Michigan) that agree to use the platform to offer free courses. There are over 200 courses with 2 million enrolled students.EdX: A nonprofit effort run jointly by MIT, Harvard, and Berkeley. EdX plans to give away software platform to offer free courses (so anyone can use it to run online courses). A smaller effort with 23 courses and 500,000 students.
Other companies work directly with faculty/educators:Udacity: Another for-profit company founded by a Stanford computer-science professor. Udacity works with individual faculty instead of institutions and focuses on computer science and related fields--not really a player in the humanities game.Udemy (U-de-me): A for-profit platform that allows anyone to set up a course. The company encourages instructors to charge a small fee, with revenue split between instructor and company.P2PU: Peer 2 Peer University is an open education project with educational resources., courses and study groups.
And by the way, online courses aren’t just a higher education thing.....museums, such as the Tate and MOMA, are also creating online courses as well.
So, a curator walks into your office and says:I want to get on the Internet. Can you help me?
One idea is to start small and create microlectures. Microlectures are short recorded audio/video presentations on a single, tightly defined topic. Microlectures can be used as a component of online courses or as supplemental materials for face-to-face instruction. Short lectures focus on a single topic and can be used to explain key concepts, demonstrate techniques. It's about providing students options for on-demand playback of information.
Microlectures can be very DIY. Use a stand alone webcam--or one built into your mobiel device to record videos. Or use screen capture/screencasting software like Jing, Camtasia, Adobe Captivate, or Screenr.
Upload the videos to YouTube. Done and done. Getting on the Internet could be as simple as this.
Of course, the other option is to go big and create an online course.
Testimonials from faculty about the process of creating an online course either talk about the mystical transformation that occurred and made them a much-improved instructor. Or they talk about how it was an absolute pain in the ass and made them lose faith in humanity. Online courses are a lot of work to design and represent a dramatic change in instructional design. How do you design a course for an audience in the thousands? How to you create assignments that can be graded by robots? Let’s not even talk about copyright and the use of images.
Due to the increase in popularity of online instruction, educators should be able to find institutional support creating online courses--especially if your institution partners with a company like (Coursera/EdX). If not, there are options. Not surprisingly Google is interested in online courses and has a nice site with tips for online course design.
Google has also created a piece of course-builder softwarethat helps instructors build online courses--although it takes some tech know-how to work. Sites like Peer to Peer University offer help in creating courses.
So, you may be asking yourself....What can I do to help my educators with online courses?
Assign a Creative Commons license and get it out there.
How many people in this room have taken an online course?
Luckily, while there is a serious lack of art or art history online courses, there are a wealth of courses related to the field of visual resources on copyright, programming, digital imaging, museum, etc. Your experience (for better or for worse) from taking an online course will be beneficial to your users.
One of the biggest complaints about online courses is the lack of real world interaction. So, help your educators make the connections.
One of the great things happening at the University of Michigan is that my colleagues organize group discussions around online classes. These informal gatherings allow people to make personal connections during an online course.
Chances are if folks are interested in taking an online course, they need help finding an online course.
You can use online course aggregator/portal sites such as: CourseBuffet, ClassCentral, or CourseTalk to help users find course options. Simply search for a topic on any of these sites and the search results will return a list of available courses.
One of the most surprising things about MOOCs is how fast the concept has taken over the educational landscape. For example, MOOCs appeared in the Horizon Report, the Holy Grail of emerging technologies for higher education, for the first time this year. So, yes. There is a sense of hysteria and MOOCs and online courses aren’t without controversy/challenges.
Studies have shown that only 10% of people who start a class, finish a classIt’s easy to violate copyright with online coursesConcern about plagiarism/cheating, and finallyLack of Certification/credit--currently, no colleges offer credit for MOOCs
Of this list of woes, the lack of recognition is probably the easiest problem to solve. A common solution is to use badges--digital tokens that appear as icons/logos on a web page or other online venue. The badges are awarded by institutions and award students of all levels for accomplishments, such as completion of a course, a project, mastery of a skill.
Badges are used by various MOOCs, Wikipedia, and others to reward users. A popular badge initiative is Openbadges (http://openbadges.org) by Mozilla (the folks that brought you Firefox). Openbadges is used by a number of organizations as a reward system for users.
It’s used by a number of museums, such as the Smithsonian American Art Museum and the Dallas Museum of Art. Here you can see that the DMA offers collection and ringleader badges to museum friends as rewards for certain activities.
So, often times we hear from our educators:Can you make my class fun?
Badges are one way to increase engagement in courses and the increase in popularity with badges is part of a larger trend with game-based learning. Gamification is the application of game elements in non-gaming situations--such as college courses. It’s a technique used to encourage interest in the learning process. Along with badges, it can include a point systems, progress bars, etc. Similar to MOOCs, adding game elements to a course takes a whole lot of work, but can be as simple as a feedback/reward elements. On most campuses, there should be instructional design experts we can connect our faculty to for more help.
If you want to learn more about game-based learning, there is even a MOOC devoted to the subject. And my presentation comes full circle!And for the rest of my presentation, I promise to never use the word MOCC again. You’re welcome.
So, the faculty member walks into your office, plops down on a chair and says, I have five minutes, tell me:What are some cool things I can do with images? Hell, yeah. Where do you want me to start? I think the prevalence of questions such as this represent how our educators have a desire to move beyond repositories and start engaging with images in new and exciting ways. For the remainder of my presentation, I’m going to quickly run (remember the faculty member only had five minutes!) through some tools to help educators do cool things.
Online exhibits are a nice first step from digital image collections to using images in a engaging way--providing the narrative/story behind the images.
Omeka is a nice tool for online exhibits. Omeka is a content management system that can be used in conjunction with a server…
at the University of Michigan we use Omeka to power the online exhibits for the Library.
Omeka.net. Educators can use Omeka.net out of the box to build and share collections and to create online exhibits of their digital content.
This example is a collection of materials related to the Eastern Oklahoma Tuberculosis Sanatorium and is created by family members of former patients of the Sanatorium. Not really art related, but a good example of how easy Omeka is to use.
There are a number of tools out there to aid in the creation of interactive timelines.
Three examples are Timeglider, Timeline JS, TimeRime. Now, I will admit that it takes a bit of tech savvy on the part of the user to make these timelines but the results are pretty great.
Here’s an example of a timeline created with Timeline JS about the most controversial moments in the life of Madonna. For Timeline JS, one creates a Google spreadsheet with the relevant data (which could include links to Flickr images, tweets, website URLS and other item types) and direct the tool to the spreadsheet and voila. You then have a timeline you can embed in various other products.
TimeRime allows you to enter data for each point in the timeline--as in this example of a timeline related to the Italian Renaissance.
So, I think at last year’s ENT, we briefly touched on Pinterest as a source for food and interior design pics---and don’t get me wrong, it is great at that. But over the past year, the site has become a nice resources for serious content curation--where folks can exhibit, categorize and share content visually on the site. Pinterest is a quick way to curate images and other visual online content.
One faculty member has used Pinterest as a way for his students to collect images of LA public art.
And the Isabella Stewart Gardner museum created a Board and pinned images of the artwork stolen in 1990.
Similar to my colleagues, I’m going to end my presentation with a couple of resources I used for my presentation.
ProfHacker: Blog hosted by the Chronicle of Higher Education. Lots of great posts about technology related to teaching and learning.Educause “7 Things You Should Know” series: Two page documents on emerging technologies that focus on practice and potential in the classroom. Use these all the time to get a quick overview of a technology.Bamboo Dirt: Bamboo Dirt is a tool, service and a collection registry of digital research tools for scholarly use. Nice search feature where you can refine results by platform or cost.