Mar 20
Transformative practices of adolescent Latino students through digital story
From the AAAL 2013 conference presentation by Tuba Angay-Crowder
Crafting Multiple Academic and Cultural identities Through Participation in Academic and Professional Discourses and Multiliteracies by Tuba Angay-Crowder
Presented (simultaneously) at Georgia state university in Atlanta, Georgia, At Ryukoku university in Kyoto, Japan, And at the University of British Columbia in Vancouver
Apr 02
Tuba Angay-Crowder’s presentation at Global Conversations in Doctoral Preparation
Navigating between US and Turkish culture:
Crafting an academic identity
Apr 01
USE OF DIGITAL STORYTELLING FOR REALIZING ACADEMIC LITERACIESIN CLASSROOM FOR MULTILINGUAL WRITERS
USE OF DIGITAL STORYTELLING FOR REALIZING ACADEMIC LITERACIESIN CLASSROOM FOR MULTILINGUAL WRITERS
Apr 01
Our blog for Digital Storytelling and the Members of the project from IRC!
Link for our Digital Story Project
Mar 19
“Grammar Wars” in a classroom blog: Constructing positive identities for ELLs
“Grammar Wars” in a classroom blog:
Constructing positive identities for ELLs
Jan 20
Welcome to the Academic literacy website
“This website explores academic literacy practices and the development of academic literacy in Hong Kong, especially in the context of English medium tertiary education. It addresses questions which would be of interest to educators in Hong Kong and elsewhere, including:
- How can university literacy practices be described?
- What English language tasks are students expected to complete in their disciplinary courses, and what skills and competencies do these tasks demand?
- How can the development of academic literacy be fostered, both in and outside the classroom?
The projects that are described here draw on two inter-related approaches to language education. The first approach is English for Specific Purposes (ESP), which is concerned with the development of discipline-specific literacies, such as ‘English for Law’ or ‘English for Science’. Students taking courses in ESP learn to: 1. Interpret and evaluate spoken and written texts, with reference to accepted disciplinary conventions and modes of argumentation; 2. Creatively and critically construct disciplinary genres, which are relevant to their course of study and future workplace interactions; 3. Enact appropriate identities in their disciplines. The second approach is that taken by New Literacy Studies, and is specifically concerned with the impact of new media and popular culture on the development of literacy. This approach problematizes school-based literacy, and investigates out-of-class literacy practices in order to inform in-class teaching practices, for example, the use of new media by students to create personally meaningful digital stories. Among other things, the projects on this website consider how such an approach may usefully be applied in the development of discipline-specific literacy.”
Reference:
Welcome to the Academic literacy website. Retrieved on January 20, 2013 at http://www1.english.cityu.edu.hk/acadlit/
Nov 26
Glossary of Multimodal Terms
MODE:
“This term refers to a set of socially and culturally shaped resources for making meaning. Mode classifies a ‘channel’ of representation or communication for which previously no overarching name had been proposed (Kress and van Leeuwen, 2001). Examples of modes include writing and image on the page, extending to moving image and sound on the screen, and speech, gesture, gaze and posture in embodied interaction. It is not that other modes of communication had not been formerly recognized and studied; for example, extensive research and theorization has been undertaken into gesture (e.g. McNeill, 1992). Embracing a variety of communicational means as worthy of investigation constitutes a challenge to the prior predominance of spoken and written ‘language’ in academic work, and opens up possibilities for recognizing, analyzing and theorizing the variety of ways in which people make meaning, and how those meanings are multimodally interrelated. Modes are not autonomous and fixed, but, created through social processes, are fluid and subject to change. For example, the words ‘wicked’ and ‘cool’ have recently taken on fresh meaning. Nor are modes universal, but are particular to a community where there is a shared understanding of their semiotic characteristics. Making marks in the sand as they recounted stories was a mode for the Walbiri women of central Australia (Munn, 1973) that is not available in other communities.”
Reference:
Mavers, D. & Gibson, W. (2012). National Centre for Research Methods. Retrieved on November 26, 2012 from http://multimodalityglossary.wordpress.com/mode-2/
Jewitt, C. (2009). The Routledge handbook of multimodal analysis. London: Routledge
Kress, G. (2010). Multimodality: A social semiotic approach to contemporary communication. London: Routledge
Please refer to the LINK for all terms of multimodality.
Nov 23
Digital Writing Month: A Code-Poem Experiment
“Code:Poem
November 23, 2012 by jessifer
[Computer code] has its own rules (syntax) and meaning (semantics) … Code can speak literature, logic, maths. It contains different layers of abstraction and it links them to the physical world of processors and memory chips. All these resources can contribute in expanding the boundaries of contemporary poetry by using code as a new language. Code to speak about life or death, love or hate. Code meant to be read, not run. ~ From Code {poems}
1. Start by working through all (or even just a bit of) “Getting Started with Programming” and/or “HTML Fundamentals” on Codecademy.
2. Check out this really cool project. Here’s an example of a code poem. And one more. As you work on this exercise, give some thought to how computers and digital technology have altered the evolution of print literature, then experiment more directly with the relationship between writing code and writing literature.
3. Write a poem or microfiction in code using JavaScript and/or HTML. Your code should be both human readable and machine readable. It doesn’t have to accomplish much when compiled (i.e. read by a computer), but it should accomplish something.
4. For reference, here is a page with sample JavaScript, showing some code and what results from that code: http://www.w3schools.com/js/js_examples.asp. Here is a page with sample HTML, showing some code and what results from that code: http://www.w3schools.com/html/html_examples.asp.
5. Test your code. If you’re coding in JavaScript, you can test your code here: http://writecodeonline.com/javascript/. If you’re coding in HTML, you can test your code here: http://www.jmarshall.com/easy/html/testbed.html.
6. Publish the code for your work somewhere on the web and share a link to it on the #digiwrimo hashtag. We recommend publishing the code itself (and not what it does) in order to have people thinking about the nature of code itself as art.”
Reference:
Digital Writing Month. (2012). Retrieved November 23, 2012 from http://www.digitalwritingmonth.com/2012/11/23/codepoem/#more-1099
Please also click HERE for Kevin Hodgson’s Code-Poem Experiment
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