Michael Coventry and Matthias Oppermann draw on their work with student-produced digital stories to explore how the protocols surrounding particular new media technologies shape the ways we think about, practice, and represent work in the scholarship of teaching and learning. The authors describe the Digital Storytelling Multimedia Archive, an innovative grid they designed to represent their findings, after considering how the technology of delivery could impact practice and interpretation. This project represents an intriguing synthesis of digital humanities and the scholarship of teaching and learning, raising important questions about the possibilities for analyzing and representing student learning in Web 2.0 environments.

Rather than simply using primary source images as illustrations for his course on Power, Race, and Culture in the U.S. City, David Jaffee wanted to teach his students how to interpret visual texts as a historian would. By paying close attention to his students’ readings of images, Jaffee was able to develop ways to scaffold their analysis, teaching them how to move beyond “looking” at isolated images to “seeing” historical context, connection and complexity.

Traditionally, academic institutions have segregated multimedia production from disciplinary study. Bernie Cook wondered what his American Studies students would learn from working collaboratively to produce documentary films based on primary sources, and what he in turn might find out about their learning in the process. Students created documentary films on local history, and wrote reflections on their creative and critical process. Not only did students report tremendous engagement with the topics and sources for their projects, they also indicated satisfaction at being able to screen their work for an audience. By allowing his students to become producers of content, Cook enables them to participate fully in the intellectual work of American Studies and Film Studies.

This is a portrait of the new shape of learning with digital media, drawn around three core concepts: adaptive expertise, embodied learning, and socially situated pedagogies. These findings emerge from the classroom case studies of the Visible Knowledge Project, a six-year project engaging almost 70 faculty from 21 different institutions across higher education. Examining the scholarly work of VKP faculty across practices and technologies, it highlights key conceptual findings and their implications for pedagogical design.  Where any single classroom case study yields a snapshot of practice and insight, collectively these studies present a framework that bridges from Web 1.0 to Web 2.0 technologies, building on many dimensions of learning that have previously been undervalued if not invisible in higher education.

What endures about the work from the Visible Knowledge Project are the insights about teaching and learning that bridge from Web 1.0 technologies to Web 2.0. These insights emerged from the work in VKP by looking across practices and beyond specific technologies and sometimes the technology itself. These insights include findings that are conceptual and bear on pedagogical designs. Where any one of the classroom case studies yields a snapshot of practice and insight, collectively these studies present a picture of new learning, building on many dimensions of learning that have previously been invisible or undervalued in higher education.  (Part II of III)

What endures about the work from the Visible Knowledge Project (VKP) are the insights about teaching and learning that bridge from Web 1.0 technologies to Web 2.0. These insights emerged from the work in VKP by looking across practices and beyond specific technologies and sometimes the technology itself. These insights include findings that are conceptual and bear on pedagogical designs. Where any single classroom case study yields a snapshot of practice and insight, collectively these studies present a picture of new learning, building on many dimensions of learning that have previously been invisible or undervalued in higher education. (Part III of III)

What impact are electronic portfolios having in higher education? In Electronic Portfolio 2.0: Emergent Research on Implementation and Impact, contributors from diverse institutions of higher education in sites across two continents share their research on electronic portfolios. In an excerpt from the conclusion to that volume, Kathleen Blake Yancey, Barbara Cambridge, and Darren Cambridge consider how electronic portfolios provide a vehicle for a transition into the future of higher education.

Over the past ten years, hundreds of colleges and universities around the world have begun utilizing electronic student portfolios to advance learning, teaching, and assessment. Theory and practice in the field are changing rapidly, even as new technologies emerge and the landscape of higher education shifts. In 2008, six hundred educators from seventy universities came to LaGuardia Community College for an international conference entitled “Making Connections: ePortfolios, Integrative Learning and Assessment.” In one key session, national experts such as Trent Batson and Helen Barret joined LaGuardia faculty leaders for a roundtable on "The Future of ePortfolio," exploring the challenges and opportunities offered by a new era.

How can we teach students to slow down their reading process and move beyond surface-level comprehension? Patricia O’Connor’s Appalachian Literature students co-constructed hypertexts which capture the connections readers make among assigned texts, reference documents, and multimedia sources. These hypertexts became more than artifacts of student work; rather, they became collaborative, exploratory spaces where implicit literary associations become explicit.

Paula Berggren struggled to engage her students in critical thinking about unfamiliar art forms, until she posed a simple question on the class’s online discussion board: “Why do people dance?” She found that the students’ responses, rather than being just less-polished versions of what they might write in formal essays, warranted close analysis in their own right. In subsequent teaching, Berggren continues to incorporate some version of a middle space for student work, which not only increases students’ engagement but also allows her to observe and document their thought processes.