Digital Stories of Deep Learning - The Diigo Meta page

• 09 Jul 19
  

  gsheehy

  portfolios

• 10 Mar 17
  

  cmmarqua

  Emerging Digital Tools to Support Reflection in Learner-Centered Portfolios
  
  

  ePortfolio eme5050 edtech education

• 19 Oct 16
  

  claude lord

  "“STORIES DEFINE:
  Who we are.
  Where we have come from.
  Where we are going. . . and
  What we care about!
  Stories give life!”
  -- Dana Atchley"

  portfolios helenbarret

• 04 Nov 15
  

  Heather Feuerhelm

  Storytelling portfolio how and why; includes great charts about AFL and Deep Learning vs. Surface Learning

  Portfolio eportfolio storytelling portfolios education

• 20 Mar 15
  

  LUCIA MENDOZA
• 28 Feb 15
  

  Trudy Pretorius
  • This paper will discuss the concepts of "Electronic Portfolios as Digital   Stories of Deep Learning" and "Digital Storytelling as Reflective   Portfolio" by linking two dynamic processes to promote deep learning: Portfolio   Development and Digital Storytelling.
  • challenge
  • o maintain learner intrinisic motivation to willingly engage
  • multimedia tools is one strategy that involves   and engages learners
  • blogs
  • issues that are turning learners off
  • wikis
  • Philosophical and Assessment Issues with portfolios in education
  • digital stories of deep learning   (a constructivist model--the learning or process portfolio)
  • assessment tools to document the attainment of standards   (a positivist model--the assessment portfolio)
  • often at odds, philosophically,
  • digital   resumes to highlight competence (a showcase model-- the best works/marketing/employment   portfolio)
  • administrators often implement electronic portfolios for the assessment   purpose, the students usually view this type of portfolio as something "done   to them" rather than something they WANT to maintain as a lifelong learning   tool
  • Barton and Collins (1993) stated, “the first and most significant act   of portfolio preparation is the decision of the purposes for the portfolio”   (p. 203).
  • I am concerned that in the name of assessment,   we are losing a powerful tool to support deep learning
  • Portfolios should support an environment of reflection and collaboration.
  • balanced   model).
  • d my CD to
  • major issue faced by educators is the differing perceptions about portfolios   and their use in education
  • One respondent in Anderson and DeMuelle's (1998) survey of portfolios in Teacher   Education asked, “How can a portfolio truly capture the individuality   of the learner and still be used as a ‘high stakes’ assessment?”
  • Placier, Fitzgerald, and Hall (2000)   reported on
  • the "politics" of portfolios   in teacher education and issues of using portfolios for high-stakes assessment:
  • When people   in power (i.e., the state, a teacher education faculty) impose a cultural   tool, less powerful agents (preservice teachers) may master the tool but use   it with reluctance or in subversive ways, or resist its use altogether.
  • There is a rich legacy in the K-12 portfolio literature and much can be learned   from the literature on paper-based portfolios. As adult learners, we have much   to learn from how children approach portfolios.
  • (read from bottom to top in order of maturity)
      Child-organized portfolio
      Teacher-and-child-organized portfolio
      Progress portfolio
      Showcase portfolio or achievement portfolio
      Teacher-organized portfolio or curriculum portfolio
      Collection of child’s work
      Folder of child’s work
  • The   contrast between these two approaches is startling. Hebert's levels are learner-centered.   The perspective really showcases the differences between using the portfolio   as assessment of learning (the California Lutheran   model) and using portfolios as assessment for learning.
  • Assessment of Learning - Assessment for Learning
  • distinction in types of assessment is elaborated by Rick   Stiggins (2002) i
  • the use of portfolios in high stakes assessment of   learning is problematic, but the use of portfolios in formative assessment (for   instruction) and assessment for learning is powerful.
  • research being conducted in Britain (Black   & Wiliam, 1998) on Assessment FOR   Learning provides firm evidence that "formative assessment is an essential   component of classroom work and that its development can raise standards of   achievement" more effectively than any other strategy.

  • underpinned by theory from the psychology of learning and studies of learning   motivation. The Assessment Reform Group provides this definition:

     

     

    Assessment for Learning is the process of seeking and interpreting evidence   for use by learners and their teachers to decide where the learners are in   their learning, where they need to go and how best to get there.

  • ten research-based principles of Assessment for Learning (AFL)   to guide classroom practice:

     
     
    • AFL should be part of effective planning of teaching and learning
     
    • AFL should focus on how students learn
     
    • AFL should be recognized as central to classroom practice
     
    • AFL should be regarded as a key professional skill for teachers
     
    • AFL should be sensitive and constructive because any assessment has an emotional   impact
     
    • AFL should take account of the importance of (and foster) learner motivation
     
    • AFL should promote commitment to learning goals and a shared understanding   of the criteria by which they are assessed
     
    • AFL develops learners’ capacity for self-assessment so that they can   become reflective and self-managing
     
    • AFL should recognize the full range of achievements of all learners
     
    • Learners should receive constructive guidance about how to improve

  • comparison of these two key assessment purposes, based on work done   in Britain (see www.assessment-reform-group.org.uk):  

                                               

    Assessment of Learning	Assessment for Learning
    Checks what has been learned to date	Checks learning to decide what to do next
    Is designed for those not directly involved in daily learning and teaching	Is designed to assist teachers and students.
    Is presented in a formal report	Is used in conversation about learning
    Usually gathers information into easily digestible numbers, scores and   grades	Usually detailed, specific and descriptive feedback in words (instead   of numbers, scores and grades)
    Usually compares the student's learning with either other students or   the 'standard' for a grade level	Usually focused on improvement, compared with the student's 'previous   best' and progress toward a standard
    Does not need to involve the student	Needs to involve the student -- the person most able to improve learning
  • Anne Davies, "Assessment for learning is ongoing, and requires   deep involvement on the part of the learner in clarifying outcomes, monitoring   on-going learning, collecting evidence and presenting evidence of learning to   others

  • five key characteristics:

     
     
    • learners are involved so a shared language and understanding of learning   is developed,
     
    • learners self-assess and receive specific, descriptive feedback about the   learning during the learning,
     
    • learners collect, organize, and communicate evidence of their learning with   others,
     
    • instruction is adjusted in response to ongoing assessment information, and
     
    • a safe learning environment invites risk taking, encourages learning from   mistakes, enables focused goal setting, and supports thoughtful learning.

  • To be effectively used to support assessment for learning,   electronic portfolios need to support the learner's ongoing learning. Here is   my comparison of electronic portfolios used as assessment of learning   with those that support assessment for learning:

                                                               

    Portfolios used for Assessment of Learning	Portfolios that support Assessment for Learning
    Purpose of portfolio prescribed by institution	Purpose of portfolio agreed upon with learner
    Artifacts mandated by institution to determine outcomes of instruction	Artifacts selected by learner to tell the story of their learning
    Portfolio usually developed at the end of a class, term or program - time   limited	Portfolio maintained on an ongoing basis throughout the class, term or   program - time flexible
    Portfolio and/or artifacts usually "scored" based on a rubric   and quantitative data is collected for external audiences	Portfolio and artifacts reviewed with learner and used to provide feedback   to improve learning
    Portfolio is usually structured around a set of outcomes, goals or standards	Portfolio organization is determined by learner or negotiated with mentor/advisor/teacher
    Sometimes used to make high stakes decisions	Rarely used for high stakes decisions
    Summative - what has been learned to date? (Past to present)	Formative - what are the learning needs in the future? (Present to future)
    Requires Extrinsic motivation	Fosters Intrinsic motivation - engages the learner
    Audience: external - little choice	Audience: learner, family, friends - learner can choose
  • Portfolio as Story
  • If we are to help learners create portfolios that truly support assessment   for learning and follow the ten AFL principles, then we need to look at strategies   that help the learner tell a story of their own learning... strategies that   foster learner self-motivation
  • Davies states, "Research is indicating   that closing in on a goal triggers a part of the brain linked to motivation   (e.g. Csikszentmihalyi, 1990; Pert, 1997; Pinker, 1997). Setting goals is a   powerful way to focus students’ learning."
  • "The portfolio is a laboratory   where students construct meaning from their accumulated experience." (Paulson   & Paulson, 1991, p.5)
  • A portfolio tells a story. It is the story of knowing. Knowing about things...   Knowing oneself... Knowing an audience...
  • what they know, why they believe they know it, and why others should be   of the same opinion.
  • opinion backed by fact
  • Learning/Process Portfolios   involve the focus on the Greek Philosophers' directive, “know thyself”   which can lead to a lifetime of investigation.
  • Self-knowledge becomes an outcome   of learning.
  • Judith Brown found   the following outcomes: increased students’ understanding of what, why,   and how they learned throughout their careers, enhanced their communication   and organization skills, reinforced the importance of reflection in learning.
  • e-portfolio as Storytelling and the Portfolio Development Process
  • diagram
  • outlines my proposition that we need to link two dynamic   processes together to support deep learning: electronic portfolios and digital   storytelling
  • Portfolio Processes
  •    

    Traditional Portfolio Processes include: • Collecting •   Selecting • Reflecting • Projecting • Celebrating

    Adding Technology allows the addition and enhancement of: •   Archiving • Linking/Thinking • Storytelling •   Collaborating • Publishing

  • Reflective Questions tie the Past to the Future:

     
     
    • What? (The Past) What have I collected about my life/work/learning? (my   artifacts)
     
    • So What? (The Present) What do those artifacts show about what I have learned?   (my current reflections on my knowledge, skills and dispositions)
     
    • Now What? (The Future) What direction do I want to take in the future? (my   future learning goals)
  • What is Digital Storytelling? In this context, learners create a 2-4 minute   digital video clip that is told in first person narrative, in their own voice,   illustrated by (mostly) still images, with the addition of a music sound track   to add emotional tone. The Center for   Digital Storytelling has identified Seven Elements of Digital Storytelling:
  • should not be presented as a recitation of mere facts
  • A Point (of View):
  • Consider your   audience and direct the point to them
  • A Dramatic Question:
  • Typically you want to pose the dramatic question in the opening lines and   resolve it in the closing lines.
  • capture your audience’s   attention at the beginning
  • Emotional Content:
  • can help hold your   audiences attention. The images, effects, music and tone of voice
  • elements consistent   with the emotion
  • The Gift of Your Voice:
  • Take time to learn and   practice your script
  • even thought you don’t like to hear it, others do.
  • conversational voice.
  • The right music can set the story in time and can convey emotion.
  • The Power of The Soundtrack:
  • can   be a distraction too.
  • Economy:
  • A compact, fast moving digital story will contain   only those elements necessary to move the audience from beginning to end.
  • Don’t give every   detail to clarify your story, let your audience fill in some of the blanks.
  • Music tempo, speech rate, image duration, and panning   and zooming speed
  • rhythm of the piece is what keeps your audience’s   interest in the story.
  • Pacing
  • Generally pace will be consistent,   but once in a while it will pause, accelerate, decelerate, stop or blast-off.
  • Why include Storytelling in Electronic Portfolios?
  • Learner Motivation and Affect
  • Constructivist Approach to Project-Based "Assessment-as-Learning"
  • Learner Ownership and Engagement with Portfolio
  • Emotional Connection
  • Deep Learning (as described by Barbara Cambridge):
      – involves reflection,
      – is developmental,
      – is integrative,
      – is self-directive, and
      – is lifelong
  • Deep Learning versus Surface   Learning*

        Attributes of Deep Learning  Attributes of Surface Learning    Learners relate ideas to previous knowledge and experience.  Learners treat the course as untelated bits of knowledge.    Learners look for patterns and unrelated principles.  Learners memorize facts and carry out procedures routinely.    Learners check evidence and relate it to conclusions.  Learners find difficulty in making sense of new ideas presented.    Learners examine logic and argument cautiously and critically.  Learners see little value or meaning in either courses or tasks.    Learners are aware of the understanding that develops while learning.  Learners study without reflecting on either purpose of strategy.    Learners become interested in the course content.  Learners feel undue pressure and worry about work.    *Source: adapted from Entwistle, 2001, quoted in Weigel,   V.B. (2001) Deep Learning for a Digital Age: Technology's Untapped   Potential to Enrich Higher Education. Jossey-Bass, p.6
  • Learner's Authentic Voice
  • Portfolio as Lifelong Learning/ Professional Development Tool
  • Constructivist model supports deep learning
  • Congruence with Philosophy
  • Contrasting Paradigms of Portfolios
  • Paulson and Paulson (1994) have discussed portfolios developed under two different   approaches: Positivism and Constructivism. They identified these tension between   the two approaches: "The two paradigms produce portfolio activities that   are entirely different... The positivist approach puts a premium on the selection   of items that reflect outside standards and interests... The constructivist   approach puts a premium on the selection of items that reflect learning from   the student’s perspective."
  • Digital Storytelling and Reflection
  • Donald Schön (1988)
  • storytelling as a mode of reflection:
  • “…for storytelling is the mode of description best suited to   transformation in new situations of action.... Stories are products of reflection,   but we do not usually hold onto them long enough to make them objects of reflection   in their own right.
  • When we get into the habit of recording our stories,   we can look at them again, attending to the meanings we have build into them   and attending, as well, to our strategies of narrative description.”
  • Janice McDrury and Maxine Alterio (2002)
  • storytelling as an effective learning   tool. They have linked the art of storytelling with reflective learning processes   supported by the literature on both reflection and learning as well as making   meaning through storytelling. The authors propose storytelling as a theory of   learning within a socio-cultural framework and introduce a Storytelling Pathways   Model and their Reflective Learning through Storytelling Model
  •          

    Map of Learning (Moon, 1999)	Learning through Storytelling
    Noticing   Making sense   Making meaning   Working with meaning   Transformative learning	Story finding   Story telling   Story expanding   Story processing   Story reconstructing
  • theoretical underpinnings of this process. McDrury   and Alterio provide the theoretical support for adding storytelling into the   e-portfolio process, as they lay out their theory:
  • ...when we tell our own practice stories and listen to those of others,   then work together to process them deeply and critically, we connect in   ways which enrich self, relationship and practice, Through these connections   we construct new knowledge and advance our understanding of the relationships   we construct and are constructed by. For these reasons we end our journey   convinced that storytelling can, and should, be viewed as a theory of learning.   (p.175)
  • Web logging or "blogging"
  • Since one of the main goals of a portfolio is reflection on learning, perhaps   a blog is a good option, since it can be used as an online reflective journal   and an environment that invites collaboration.
  • Tools
  • different tools for different purposes
  • Resources on Digital Storytelling
  • Books on Digital Storytelling
  • Websites on Digital Storytelling
  • Digital Storytelling Software

  • Resources on Blogs and Wikis

     

     

     

  106 more annotations...

• 04 Nov 14
  

  Troy Davis

  assignment eportfolio storytelling

• 06 Oct 14
  

  Paul Gustafson

  Describes purposes for different kinds of portfolios

  portfolios

• 05 Sep 14
  

  somiros

  Digital Stories of Deep Learning

  e-portfolios

• 05 Sep 13
  

  Tim Pettine

  eportfolio storytelling portfolios education reflection

• 03 May 13
  

  Kimberly Hayworth

  eportfolio storytelling portfolios education digital portfolio reflection elearning

• 12 Mar 13
  

  Leone Gately

  Helen Barrett 2004 

  eportfolio

• 30 Oct 12
  

  Elena Delgado

  eportfolio portfolios

• 17 Jul 12
  

  Laura Allan
• 21 Jun 12
  

  Alfonso Gonzalez

  "Assessment of Learning - Assessment for Learning"

  storytelling portfolios education digital portfolio reflection elearning ePortfolio eportfolios

• 18 Jun 12
  

  triguy

  eportfolio education portfolio assessment e-portfolio storytelling elearning reflection portfolios digital

  • The literature suggests that portfolios can have multiple purposes (Wolf, 1999):  as assessment tools to document the attainment of standards (a positivist  model--the assessment portfolio); as digital stories of deep learning (a  constructivist model--the learning or process portfolio); and as digital resumes  to highlight competence (a showcase model-- the best works/marketing/employment  portfolio).
  • Portfolios should support an environment of reflection and collaboration
  • A major issue faced by educators is the differing perceptions about portfolios  and their use in education. Some people think the primary purpose of a portfolio  is for summative assessment (a culture of compliance or a checklist of skills).  Others think the primary purpose of a portfolio is assessment for learning and  to tell the learner's story (a culture of lifelong learning/professional  development). These two purposes are often in conflict with each other

  • The purpose of the portfolio was thus transformed from the individualistic,  developmental, constructivist vision in the Design Document to a policy tool  designed to address external program and state requirements... When people in  power (i.e., the state, a teacher education faculty) impose a cultural tool,  less powerful agents (preservice teachers) may master the tool but use it with  reluctance or in subversive ways, or resist its use altogether.

  • "Most said they produced these portfolios just to 'get them done,' because  the program required them – not because they found them personally  meaningful."
  • (read from bottom to top in order of maturity)
    Child-organized  portfolio
    Teacher-and-child-organized portfolio
    Progress  portfolio
    Showcase portfolio or achievement portfolio
    Teacher-organized  portfolio or curriculum portfolio
    Collection of child’s work
    Folder of  child’s work
  • “If we can begin to consider that the primary purpose for the portfolio is to  provide a vehicle for each child to grow metacognitively and to demonstrate  competence in telling the story of learning, the door is open for the child to  assume ownership.
  • portfolio as assessment of learning (the California  Lutheran model) and using portfolios as assessment for  learning.
  • Assessment of Learning Assessment for Learning
  • Assessment of Learning Assessment for Learning
  • portfolio as assessment    of   learning  (the California   Lutheran model) and using portfolios as  assessment   for   learning.
  • formative assessment is an essential component of classroom work and that its  development can raise standards of achievement" more effectively than any other  strategy
  • Here are their ten research-based principles of Assessment for Learning (AFL) to  guide classroom practice
  • decide what
  • The portfolio is a laboratory where students construct meaning from their  accumulated experience."
  • A portfolio tells a story. It is the story of knowing. Knowing about things...  Knowing oneself... Knowing an audience... Portfolios are students' own stories  of what they know, why they believe they know it, and why others should be of  the same opinion. A portfolio is opinion backed by fact... Students prove what  they know with samples of their work.”
  • Traditional Portfolio Processes include:
    • Collecting
    • Selecting
    •  Reflecting
    • Projecting
    • Celebrating Adding Technology allows the addition and enhancement of:
    •  Archiving
    • Linking/Thinking
    • Storytelling
    • Collaborating
    •  Publishing

  15 more annotations...

• 26 Mar 12
  

  Mark Morton

  This paper discusses the concepts of Electronic Portfolios as Digital Stories of Deep Learning and Digital Storytelling as Reflective Portfolio by linking two dynamic processes to promote deep learning: Portfolio Development and Digital Storytelling.

  eportfolios

• 27 Feb 12
  

  Heath Sawyer

  Dr. Helen Barret

  eportfolio digitalstorytelling

• 22 Jan 12
  

  Molly Myers

  Electronic Portfolios as Digital Stories of Deep Learning: http://t.co/JMvc7Tbo #edchat #edtech

  edchat edtech

• 

  Chris Ludwig

  Electronic Portfolios as Digital Stories of Deep Learning: http://t.co/JMvc7Tbo #edchat #edtech

  edchat edtech

• 21 Jan 12
  

  jmarkey2

  Electronic Portfolios as Digital Stories of Deep Learning: http://t.co/JMvc7Tbo #edchat #edtech

  edchat edtech

• 

  Carolyn Durley

  Electronic Portfolios as Digital Stories of Deep Learning: http://t.co/JMvc7Tbo #edchat #edtech
  – Terie Engelbrecht (mrsebiology) http://twitter.com/mrsebiology/status/160740822269173760

  via:packrati.us edtech edchat

• 16 Nov 11
  

  ciara robinson

  eportfolio

• 13 Oct 11
  

  Nicole Smith-Forrest

  eportfolio storytelling portfolios reflection elearning digital

• 10 Mar 11
  

  Dolores Gende

  eportfolio digitalstorytelling

• 07 Feb 11
  

  cbauer341

  eportfolio

• 31 Jan 11
  

  Helen Douglas

  storytelling portfolios education portfolio barrett eportfolio

  • A major challenge today with electronic   portfolios is to maintain learner intrinisic motivation to willingly engage   in the portfolio process. The use of multimedia tools is one strategy that involves   and engages learners; another technology that is engaging young people today   is the web log or "blogs" and "wikis." But first, lets look   at the issues that are turning learners off about the current approach to electronic   portfolios, at least in Teacher Education.
  • There are some underlying philosophical issues that need to be addressed with   portfolios in education. The literature suggests that portfolios can have multiple   purposes (Wolf, 1999): as assessment tools to document the attainment of standards   (a positivist model--the assessment portfolio); as digital stories of deep learning   (a constructivist model--the learning or process portfolio); and as digital   resumes to highlight competence (a showcase model-- the best works/marketing/employment   portfolio). These models are often at odds, philosophically, with each other.   While administrators often implement electronic portfolios for the assessment   purpose, the students usually view this type of portfolio as something "done   to them" rather than something they WANT to maintain as a lifelong learning   tool. A portfolio that is truly a story of learning is OWNED by the learner,   structured by the learner, and told in the learner's own VOICE (literally and   rhetorically).
  • . I am concerned that in the name of assessment,   we are losing a powerful tool to support deep learning. I am concerned that   that we are losing the "stories" in e-portfolios in favor of the skills   checklists. Portfolios should support an environment of reflection and collaboration.
  • I believe the use of technology can be a motivating   factor for portfolios, especially if we can make it engaging for the learners,   and give them an opportunity to express their own voice in their portfolios.
  • A major issue faced by educators is the differing perceptions about portfolios   and their use in education. Some people think the primary purpose of a portfolio   is for summative assessment (a culture of compliance or a checklist of skills).   Others think the primary purpose of a portfolio is assessment for learning and   to tell the learner's story (a culture of lifelong learning/professional development).   These two purposes are often in conflict with each other. Green and Smyser (1995)   identify these two contradictory purposes: formative and summative evaluation.
  • The paper also covered issues of faculty disengagement,
  • There is a rich legacy in the K-12 portfolio literature and much can be learned   from the literature on paper-based portfolios. As adult learners, we have much   to learn from how children approach portfolios. Contrast the levels above with   "Stages of Ownership of the Portfolio" [Hebert, Elizabeth (2001) The   Power of Portfolios. Jossey-Bass, p.45]. Elizabeth Hebert is the principal   at Crow Island School in Winnetka, Illinois. Her book is a story about the growth   of portfolios in her school over the last decade. Their approach to portfolios   focuses on student ownership of the portfolio:
  • (read from bottom to top in order of maturity)
      Child-organized portfolio
      Teacher-and-child-organized portfolio
      Progress portfolio
      Showcase portfolio or achievement portfolio
      Teacher-organized portfolio or curriculum portfolio
      Collection of child’s work
      Folder of child’s work
  • Hebert discussed the purpose of the portfolio: “If we can begin to consider   that the primary purpose for the portfolio is to provide a vehicle for each   child to grow metacognitively and to demonstrate competence in telling the story   of learning, the door is openfor the child to assumeownership.” The   contrast between these two approaches is startling. Hebert's levels are learner-centered.   The perspective really showcases the differences between using the portfolio   as assessment of learning (the California Lutheran   model) and using portfolios as assessment for learning.
  • AFL should be recognized as central to classroom practice
  • learners self-assess and receive specific, descriptive feedback about the   learning during the learning,
  • learners collect, organize, and communicate evidence of their learning with   others,
  • Artifacts selected by learner to tell the story of their learning
  • Portfolio organization is determined by learner or negotiated with mentor/advisor/teacher
  • Ann Davies states, "Research is indicating   that closing in on a goal triggers a part of the brain linked to motivation
  • Setting goals is a   powerful way to focus students’ learning."

  • A portfolio tells a story. It is the story of knowing. Knowing about things...   Knowing oneself... Knowing an audience... Portfolios are students' own stories   of what they know, why they believe they know it, and why others should be   of the same opinion. A portfolio is opinion backed by fact... Students prove   what they know with samples of their work.” (Paulson & Paulson,   1991, p.2)

     

     

  • The following Reflective Questions tie the Past to the Future:

     
     
    • What? (The Past) What have I collected about my life/work/learning? (my   artifacts)
     
    • So What? (The Present) What do those artifacts show about what I have learned?   (my current reflections on my knowledge, skills and dispositions)
     
    • Now What? (The Future) What direction do I want to take in the future? (my   future learning goals)
  • Paulson and Paulson (1994) have discussed portfolios developed under two different   approaches: Positivism and Constructivism. They identified these tension between   the two approaches: "The two paradigms produce portfolio activities that   are entirely different... The positivist approach puts a premium on the selection   of items that reflect outside standards and interests... The constructivist   approach puts a premium on the selection of items that reflect learning from   the student’s perspective."

  17 more annotations...

• 25 Jan 11
  

  teresa rafael

  portfolios portfolio reflection digital storytelling

• 16 Sep 10
  

  Malcolm Roberts

  ePortfolios Digital_Storytelling

• 28 Jul 10
  

  Tracy S

  digital storytelling portfolio eportfolio D2L

• 19 Nov 09
  

  Catalin Martin

  eportfolio

• 13 Aug 09
  

  Tsuchi Jones

  electronic portfolios

  • se of multimedia tools is one strategy
  • maintain learner intrinisic motivation to willingly engage   in the portfolio process
  • maintain learner intrinisic motivation to willingly engage   in the portfolio process
  • major challenge today with electronic   portfolios is to maintain learner intrinisic motivation to willingly engage   in the portfolio process
  • se of multimedia tools is one strategy
  • se of multimedia tools is one strategy

  4 more annotations...

• 03 May 09
  

  Bruce Stoltenberg
  • This paper will discuss the concepts of "Electronic Portfolios as Digital   Stories of Deep Learning" and "Digital Storytelling as Reflective   Portfolio" by linking two dynamic processes to promote deep learning: Portfolio   Development and Digital Storytelling. A major challenge today with electronic   portfolios is to maintain learner intrinisic motivation to willingly engage   in the portfolio process. The use of multimedia tools is one strategy that involves   and engages learners; another technology that is engaging young people today   is the web log or "blogs" and "wikis." But first, lets look   at the issues that are turning learners off about the current approach to electronic   portfolios, at least in Teacher Education.
• 11 Apr 09
  

  Kristen Kozloski

  deep_learning portfolios reflection

• 13 Feb 09
  

  Susan Dornberg

  eportfolio student education

• 30 Jan 09
  

  kasey
• 18 Jan 09
  

  Toppy Pettigrew

  This paper will discuss the concepts of "Electronic Portfolios as Digital
  Stories of Deep Learning" and "Digital Storytelling as Reflective Portfolio" by
  linking two dynamic processes to promote deep learning: Portfolio Development
  and Digital Storytelling.

  assessment eportfolio portfolios

• 20 Dec 08
  

  Midwifepam Harnden

  ePortfolios E-learning delicious

• 13 Nov 08
  

  Anthony Armstrong

  Emerging Digital Tools to Support Reflection in Learner-Centered Portfolios

  eportfolios

• 01 Sep 08
  

  ken .

  portfolio management, aka "deanware" (worth it for that alone, cf. Beck's Journey Planner, meaning in the pov) - ticking the boxes (contra-rotulus) but losing the plot - Stiggin's Assessment of-Learning v for-Learning - owned by, structured by and told by

  action blogging control design education knowledge learning management meaning motivation sensemaking story time writing

• 08 Aug 08
  

  Trevor Holmes

  This is one of my favourite intros to the potential of ePortfolios from back in the ancient day (2004).

  Links Portfolios_Journals eportfolio deep learning narrative reflection pedagogy reflective practice online

• 28 Jul 08
  

  Joe LaFitte

  imported portfolios eportfolio

• 03 Jun 08
  

  Michael M Grant

  Helen Barrett describes her foundation for electronic portfolios.

  electronic portfolios digital storytelling reflection artifacts

• 28 Apr 08
  

  Jacqui Sharp

  Helen Barrett paper on eportfolios

  ePortfolio DrHelenBarrett

• 15 Nov 07
  

  patarakin

  Portfolio

  assessment documentation education elearning storytelling portfolio

• 02 Oct 07
  

  Wayne Lang

  blogs digital education eportfolio

• 20 Jun 07
  

  Debra Hicks

  assessment digital_portfolios digital_story elearning Multiliteracies

• 19 Jun 07
  

  brian bass

  digitalstorytelling

• 

  shornig

  electronic portfolio

• 27 Apr 07
  

  Nadine Davis

  ePortfolios E-learning delicious

• 10 Apr 07
  

  michelemmartin

  linking eportfolios and digital story-telling for deep learning

  elearning eportfolio learning Web2.0 storytelling

  • Barton and Collins (1993) stated, “the first and most significant act   of portfolio preparation is the decision of the purposes for the portfolio”   (p. 203). What are your purposes in creating an electronic portfolio? To support   ongoing learning/professional development? To support formative and summative   assessment? To support marketing and employment? These are three major purposes   for electronic portfolios... and they are all different and require different   types of technology tools. A learning portfolio can be supported very nicely   with a web log environment ("blogs"), whereas an assessment portfolio   that ties artifacts to a set of standards, with feedback or validation, is best   implemented through a relational database structure. A marketing or employment   portfolio only needs an authoring environment that supports formatting and hyperlinking   on a web-based server.
  • Portfolios should support an environment of reflection and collaboration.   It is a rare system that supports those multiple needs. That is why I often   advocate for three interconnected systems: an archive of student work, an assessment   management system to document achievement of standards, and an authoring environment   where students can construct their own electronic portfolios and reflective,   digital stories of learning (see my online   article with more in-depth detail about this balanced   model).
  • Some people think the primary purpose of a portfolio   is for summative assessment (a culture of compliance or a checklist of skills).   Others think the primary purpose of a portfolio is assessment for learning and   to tell the learner's story (a culture of lifelong learning/professional development).   These two purposes are often in conflict with each other.
  • If we are to help learners create portfolios that truly support assessment   for learning and follow the ten AFL principles, then we need to look at strategies   that help the learner tell a story of their own learning... strategies that   foster learner self-motivation. Ann Davies states, "Research is indicating   that closing in on a goal triggers a part of the brain linked to motivation   (e.g. Csikszentmihalyi, 1990; Pert, 1997; Pinker, 1997). Setting goals is a   powerful way to focus students’ learning."

  • The following Reflective Questions tie the Past to the Future:

     
     
    • What? (The Past) What have I collected about my life/work/learning? (my   artifacts)
     
    • So What? (The Present) What do those artifacts show about what I have learned?   (my current reflections on my knowledge, skills and dispositions)
     
    • Now What? (The Future) What direction do I want to take in the future? (my   future learning goals)

  • Portfolio Processes

         

    Traditional Portfolio Processes include: • Collecting •   Selecting • Reflecting • Projecting • Celebrating

    Adding Technology allows the addition and enhancement of: •   Archiving • Linking/Thinking • Storytelling •   Collaborating • Publishing
  • • A Point (of View): Stories are told to make a point and   should not be presented as a recitation of mere facts. Define the premise   of your story so that all parts can serve to make the point. Consider your   audience and direct the point to them.
     
    • A Dramatic Question: You want to capture your audience’s   attention at the beginning of the piece and hold their interest throughout.   Typically you want to pose the dramatic question in the opening lines and   resolve it in the closing lines.
     
    • Emotional Content: Emotional content can help hold your   audiences attention. The images, effects, music and tone of voice all lend   to contributing emotion to the piece. Try to keep the elements consistent   with the emotion of the moment.
     
    • The Gift of Your Voice: Most likely the first time you   heard your recorded voice you couldn’t stand the way it sounded. And   you still can’t. Suggestion….get over it! Your voice is a great   gift and even thought you don’t like to hear it, others do. If you “read”   your script your audience will not know how to react. Take time to learn and   practice your script so you can speak in a conversational voice. Record several   takes and select the best one. Trust that your audience will think it is perfect
     
    • The Power of The Soundtrack: Music is a big plus to a digital   story. The right music can set the story in time and can convey emotion. Play   music behind an image and a specific emotion is generated. Change the music   behind the same image and an entirely different emotion is experienced. Sound   effects can add tension and excitement to a piece, but be careful, they can   be a distraction too.
     
    • Economy: A compact, fast moving digital story will contain   only those elements necessary to move the audience from beginning to end.   We know that our brains are constantly filling in (from our own experiences)   details from suggestions made by sights and sounds. Don’t give every   detail to clarify your story, let your audience fill in some of the blanks.  
     
    • Pacing: The rhythm of the piece is what keeps your audience’s   interest in the story. Music tempo, speech rate, image duration, and panning   and zooming speed all work to establish pace. Generally pace will be consistent,   but once in a while it will pause, accelerate, decelerate, stop or blast-off.
  • Portfolio as Lifelong Learning/ Professional Development Tool
      • The tools used to develop the portfolio should be accessible to a   learner throughout their chosen career.
      • Dependence on propriety software that is not accessible to a learner   after graduation may not, in the long term, provide the skills necessary to   maintain the e-portfolio as a lifelong professional development tool.
  • Another technology that has potential to make electronic portfolios more engaging   is the web log or "blogs" as it is known to those who participate   in them. As the Stanford Learning Technologies group has evolved the technology   to support its research project on "folio thinking," researcher Helen   Chen reports that they are beginning to use blog or "wiki" software   to support students' reflections.
  • Developing an electronic portfolio begins first with developing a digital archive   of a learner's work, from which a variety of portfolios can be created, depending   on purpose and audience. Essentially, it is a content management process with   reflection on learning. There are two major directions in electronic portfolio   development. One path uses generic tools (GT) such as word processors, presentation   software, HTML editors, multimedia authoring tools, portable document format   (PDF), or other commonly used productivity tool software found on most desktop   computers. The second path uses an "information technology" customized   systems approaches (CS) that involve servers, programming, and databases.
  • I recommend establishing a system that is very open, and allows for multiple   purposes, so that learners can develop a portfolio that meets THEIR goals.

  9 more annotations...

• 13 Mar 07
  

  Stefan Karlhuber

  from delicious eportfolio deliciousimport

• 13 Jan 07
  

  Allan Besselink

  education learning portfolio academia knowledge personal

• 27 Dec 06
  

  Richard Davis

  idel-assignment e-learning edinburgh

• 26 Aug 06
  

  Pier Giuseppe Rossi

  articolo molto importante in quanto rpecisa le tipologie di ePortfolio e indica alcune tecnologie in funzione della tipologia

  barret eportfolio education storytelling tools socialsoftware blog

• 10 Jun 06
  

  Marcus O'Donnell

  The perspective really showcases the differences between using the portfolio as assessment of learning (the California Lutheran model) and using portfolios as assessment for learning. This distinction in types of assessment is elaborated by Rick Stiggins

  eportfolio storytelling education assessment learning

• 16 Apr 06
  

  Mikel Madina

  [EN] will discuss the concepts of "Electronic Portfolios as Digital Stories of Deep Learning" and "Digital Storytelling as Reflective Portfolio" by linking two dynamic processes to promote deep learning: Portfolio Development and Digital Storytelling

  deep-learning eportfolio tesis imported-20110607

• 06 Dec 05
  

  Barbara Cohen

  documentation reggioemilia

• 12 Jul 05
  

  Yvonne Murtagh

  e-portfolio tools blogs wiki education learning social digital storytelling

• 03 Jul 05
  

  Bonnie Muir

  imported SocialSoftware eportfolio

• 17 Dec 04
  

  Portfolio

• 07 Aug 04
  

  Bobby Elliott

  Education

• 03 Aug 04
  

  Mario Asselin

  Article ("under development") de Helen C. Barrett, Ph.D. à-propos de l'émergence des outils numériques qui supportent la réflexion à l'aide de portfolios centrés sur l'apprenant

  eportfolio webpublishing

• 01 Jul 04
  

  Ed Garon
• 30 Jun 04
  

  Stephen Harlow

  ePortfolio Digital Storytelling eLearning

Would you like to comment?

Join Diigo for a free account, or sign in if you are already a member.