21 Matching Annotations
  1. Mar 2022
    1. https://kiriska.com/blog/2022/your-website-is-useless/

      Some general discussion about the value of having a portfolio on your own website in a social media driven world. Touches on the ease of use and user interface problems that are out there.

  2. Feb 2022
    1. E-Portfolios sind netzbasierte Sammelmappen, die ver-schiedene digitale Medien und Services integrieren und auch im e-Learning eingesetzt werden, um Kompetenz auszuweisen und Lernprozesse zu reflektieren.


    1. Nonfiction Techniques Spring 2022

      Caveat emptor. A lot of these "influencer" methods are leaving 30% or far more of their value with the platforms they're using for distribution. A better path is to build and promote your own platform and have a direct relationship with one's readers (in newsletter spaces, it's about "owning"/having your reader's email address). Some other newsletter options can be found here: https://indieweb.org/newsletter as well as methods for building and owning your own technology stack across its site. If nothing else, consider having a website where you can have a portfolio/archive of your work.

      Careful watchers of the newsletter space will notice that almost all of the highlight examples on these services are established big names with pre-existing platforms and audience. Where are the stories of the other 99.9% and how well they're doing? Who is actually making a full time living doing this without a significant leg up to start? As examples, look for major writers leaving the New York Times to set up newsletters, or people like Steve Hayes and Jonah Goldberg leaving The National Review to set up The Dispatch (as a newsletter platform)—it's a good bet that they're getting a better deal from Substack than the average person. The NiemanLab has some relatively good coverage of some of this space. (Their annual predictions series also has solid forward looking coverage of the journalism/technology space: https://www.niemanlab.org/collection/predictions-2022/.)

      (Apologies for lurking... 😅, but happy to chat technology/publishing with anyone interested.)

  3. Nov 2017
  4. Oct 2017
    1. Multimedia portfolios of student work

      Profile pages of annotation are a kind of this portfolio or a contribution.

    2. holding themselves accountable

      Can annotation portfolios/profile be leveraged to this end? Students have an activity page that represents their engagement with reading and with each other. Maybe ask students to reflect on their contributions.

  5. Jul 2016
    1. “In my perfect world, I have a competency profile — you know, on LinkedIn, presumably — that is kept up to date in real time on the competencies that I am exhibiting in my work, as well as competencies that I’ve demonstrated through assessments, through my education, the formal credentials that I’ve accrued,”

      It’s a very specific dream, but it sounds like it’s shared by a lot of people.

  6. Mar 2016
  7. Dec 2015
    1. Users publish coursework, build portfolios or tinker with personal projects, for example.

      Useful examples. Could imagine something like Wikity, FedWiki, or other forms of content federation to work through this in a much-needed upgrade from the “Personal Home Pages” of the early Web. Do see some connections to Sandstorm and the new WordPress interface (which, despite being targeted at WordPress.com users, also works on self-hosted WordPress installs). Some of it could also be about the longstanding dream of “keeping our content” in social media. Yes, as in the reverse from Facebook. Multiple solutions exist to do exports and backups. But it can be so much more than that and it’s so much more important in educational contexts.

  8. Jun 2015
    1. there is a powerful impact on growth and self awareness when students can see their own development in speaking, in writing, in thinking and problem solving.

      So it all comes back to self-directed learning again. As I've begun to think about this competency in our school, I've thought about how this might be something that is intertwined with all other competencies. In plain language, this might mean that students are always pulling back holding up a mirror (or taking a snapshot) of their learning/journey.

    2. Making clear what students need to know and be able to do, not only in a specific assignment or class, but across the experiences that lead to a college degree, is a necessary base. It requires clear criteria about what will count as meeting the goal that has been set

      This is the goal -- or at least I think it is -- of competency, mastery-based learning and of open badges. One thing I love about looking at Alverno's 8 Abilities like I did this morning is to see two things: First, the over-arching 8 remain more or less the same for almost 40 years. And second, there is a constant revision, re-owning, re-thinking of the skills under each ot the abilities (thus the history of the changes).

    3. The kind of work assigned thus makes a big difference. If students have only been asked to write in one mode or to one type of audience (or no audience except the implied teacher as audience), their portfolios will provide less opportunity to find direction.

      This is real, and perhaps, a bit understated. When students are doing worksheets, filling in blanks, how can we ask them use them for self-expression (sonnet), self-reflection (mirror) or for making a plan (map).

      But then, does this mean that we have to spend more time on creating conditions and projects for meaningful work before working on portfolios? Probably not, but this does remind me of how much gets revealed because of portfolios.

      Seeing what's not there yet -- in our own curriculum -- is a big reason why teachers resist student portfolios, I think.

    4. Criteria for performance, such as the Alverno criteria for speaking across the curriculum guide the interaction between student and teacher.

      The purpose of criteria is not about judgment or meeting standards, it's a precursor for conversation or interaction between teacher and student.

    5. Using explicit criteria, the student develops the ability to look at her own work and determine the strengths and weaknesses evident in a particular performance or across a set of performances. She begins to set goals to address the areas she needs to develop and to deepen her areas of strength.

      The obvious paradox here is that the more "explicit" and digestible (student friendly) our criteria, the more a student can be independent in assessing her own work. That's a wonderful tension between top-down criteria and bottom-up assessment.

    1. Showing students their perfo rmance in order to generate a sense of ownership and agency

      Profile pages need to act as portfolios to do this.

      And dashboards for group activity could similarly give students a sense of where they're at in relation to classmates.

  9. May 2015
    1. "What connections can I make between what I'm learning in one class with what rm learning in another?" ""What questions do I have about my learning?"

      Versions of these questions would be good for us to consider in our portfolio panels.

    2. making student development visible and accessible to the student, through video portfolios, written portfolios, and multi media collections of work

      What a powerful reason for asking students to keep and develop a portfolio: because we want you to see the progress you will make/are making, or at least see the changes and development of your work.

    3. The challenge for all of us engaged in the design of portfolio assessment is to assist our students to learn how to make their products more "interwoven and complete," weighing "the stress of every chord" to assure that the portfolio becomes an expressio

      What a bracing shift it would be to ask students to consider their portfolios as something that is an expression "worthy of their time and effort." To treat the portfolio as another presentation of their work, for a real audience, and one that matters.

      How can we begin to give students experiences of this kind of presentation of self/work in small ways, not just at the end when a portfolio is due.

    4. the portfolio can be a structure to help an individual express meaning. But its quality depends up what the individual does with it.

      This would suggest that a portfolio is a means of self-expression. Students should be encouraged to show who they truly are through a portfolio.

      So I was just looking at a folder of work that a seventh grader wants to use in her portfolio. She came to me asking me to "approve" of the work. "Is this good enough for my portfolio in Independent Reading?"

      It wasn't easy to get her to understand that I wasn't going to give approval or disapproval, and instead I asked her in as many was as I could think of to show me how the work show us something important about her ability to "have conversations online" (as our competency states) about her reading. Or more generally, I said, "Okay, so here are three responses to short stories that you have first drafts of. You do need to finish them, and as you do, think about what you want these to show about your unique, thoughtful ways of responding to literature."

      We have work to do. But Mary Diez's metaphor here reminds me of how important it is to return the power of the portfolio to the student. It's not my approval of the work that matters, it's the student's ability to recognize and articulate her own sense of why this work matters, how it shows something important about herself.

    1. five critical questions

      There's a lot to learn about the leadership and vision shown by these questions and this process.

      1. We want to know what the burning issues are in your field, and we want to know how you are dealing with these issues in your general courses and in the advanced courses.

      2. What so important in your classes that everybody needs to learn it?

      3. Let's forget credits and course requirements. Instead tell us what students need to know to be successful in your department.

      4. Let's assume that your work with students is one piece of a larger picture. How do you think they might connect the work in your classes with their work in other classes? Let's think about the connections, not just hope they get there.

      5. We value the liberal arts and professional learning. How do you see the two interacting.

      The scheduled discussions make clear that this is a self-research project. This is what we need to do in schools at all levels.