Students are reading on screens more than ever--how can we teach them to be better digital readers?

A visionary report on the revitalization of the liberal arts tradition in the electronically inflected, design-driven, multimedia language of the twenty-first century. Digital_Humanities is a compact, game-changing report on the state of contemporary knowledge production. Answering the question “What is digital humanities?,” it provides an in-depth examination of an emerging field. This collaboratively authored and visually compelling volume explores methodologies and techniques unfamiliar to traditional modes of humanistic inquiry—including geospatial analysis, data mining, corpus linguistics, visualization, and simulation—to show their relevance for contemporary culture. Written by five leading practitioner-theorists whose varied backgrounds embody the intellectual and creative diversity of the field, Digital_Humanities is a vision statement for the future, an invitation to engage, and a critical tool for understanding the shape of new scholarship.

Advocates for the rights of people with disabilities have worked hard to make universal design in the built environment "just part of what we do." We no longer see curb cuts, for instance, as accommodations for people with disabilities, but perceive their usefulness every time we ride our bikes or push our strollers through crosswalks. This is also a perfect model for Universal Design for Learning (UDL), a framework grounded in the neuroscience of why, what, and how people learn. Tobin and Behling show that, although it is often associated with students with disabilities, UDL can be profitably broadened toward a larger ease-of-use and general diversity framework. Captioned instructional videos, for example, benefit learners with hearing impairments but also the student who worries about waking her young children at night or those studying on a noisy team bus. Reach Everyone, Teach Everyone is aimed at faculty members, faculty-service staff, disability support providers, student-service staff, campus leaders, and graduate students who want to strengthen the engagement, interaction, and performance of all college students. It includes resources for readers who want to become UDL experts and advocates: real-world case studies, active-learning techniques, UDL coaching skills, micro- and macro-level UDL-adoption guidance, and use-them-now resources.

This book provides faculty and instructors with an introductory guide to integrating mobile learning in their courses. Recognizing that a smartphone is the first and main piece of technology anyone owns, with ownership exceeding 95% for those aged 18-29, with a sizable minority of these being smartphone-dependent; and that instructors are relying on technology for teaching and learning more than ever; this book addresses the imperative that course materials and interactions be increasingly available through the technology that students use most often. Dispelling the notion that mobile learning is for the tech-savvy and adventurous, mobile-mindful teaching offers teachers a way to take a few steps at a time, share options with students, and progressively develop ideas and practices. The book invites you to explore your own way into mobile learning.Christina Moore stresses two principles as you engage with mobile learning--intention and fluidity. This begins with mindfully implementing mobile learning opportunities so that students see the usefulness of learning via phone; and recognizing the fluid learning environments in which students learn so you can offer online modalities and functions appropriate to purpose and situations.The book opens with a “start with self” section on How to Be a Mobile Mindful Learner, offering ideas on exploring the almost infinite available online resources in your discipline to curate a rich and ever-expanding compilation of ideas for use in your scholarly work and teaching; and identifying different types of learning (digital reading, audio and visual learning, and social learning) across multiple devices and contexts to consider as you develop your course.The section “Toward Mobile-Mindful Teaching” explores ways to add mobile options to existing learning materials and how they and the LMS functions you use are rendered on a phone by taking a mobile test drive through your course.Christina Moore shows how, by building up your mobile learning skills to be a more productive scholar and developing habits that feed your curiosity and creativity, you can start planning how you can create fluid learning opportunities for your students they can access across devices, time, and space, and take advantage of found moments of time and informal spaces.

Online learning can be so dull—or not! Enter Jenae Cohn and Michael Greer, experienced authors and teachers, who decided it was time to take on the challenge of making online learning more interesting and compelling for students. So, they met in a Zoom call, contacted Rosenfeld Media, and wrote this book, Design for Learning: User Experience in Online Teaching and Learning (many Zoom calls later). The book is structured to teach online learning in such a way that anyone can follow its practices and create a dynamic educational presentation. Chapters cover everything from learning about your learners and setting learning goals to building connections with learners and giving them feedback. In addition, the authors dive into the nitty-gritty details of creating online courses, including takeaways at the end of each chapter and easy-to-follow examples throughout. “I particularly appreciate how thoughtful Jenae and Michael are about considering the experience from the learner’s point of view and the emphasis they put on learner agency.” —Julie Dirksen, Author, Design for How People Learn Together, Jenae Cohn and Michael Greer have years of experience designing and producing online courses for students. They wanted the tone of their book to be friendly, supportive, engaging, empathetic, and thoughtful. With that in mind, they chose examples that reflected what an ordinary user might encounter on a day-to-day basis, highlighting everything from complex skills (accessibility) to the most minute details, such as “smile when you talk” for a friendlier tone. Takeaways Writing compelling content and instructional text Designing interesting text and visuals Planning and producing videos Recording sound and voice-overs Creating and facilitating live website presentations Designing surveys for class feedback Rating whether your presentation was successful Who This Book Is For Teachers, learning development professionals, and anyone tasked with designing an online course or a one-off workshop Content creators, instructional designers, user experience designers, and others who care about the experience of online learning Whether you’re a novice or experienced online instructional designer, this book will show you how to apply industry best practices, and provide how-to examples, powerful templates, and activities to craft compelling instructional content—whether text, audio, or video. Best of all—your course will never be called dull again. Frequently Asked Questions Q: How do I design a course that really keeps people’s attention online? A: When it comes to online learning, distraction is a huge concern, and engagement metrics are a big part of how designers can tell if a course is really engaging. We believe that the more targeted a course is to your specific learners and their needs, the better you’ll be able to serve them. (See Chapter 2, “Learning About Your Learners,” to understand where your learners might be coming from.) We also have specific strategies for keeping learners’ attention once the course is running (see Chapters 8, “Facilitating Live Webinar Presentations,” and 9, “Building Connections Among Learners”). Q: Is it really possible to create an online course or training that’s just as good as an on-site one? A: We think so! But it’s important for readers to recognize that an online learning experience is really different than an on-site course. Comparing the two experiences is (forgive the cliché) like comparing apples and oranges. You have to have different expectations up front—and so do your learners. In Chapter 4, “Building a Space for Online Learning,” we explore what unique advantages and limitations there are around building a course in an online space and consider how the lessons from UX research can inform quality experiences online. Q: I’ve been asked to design a course in just a month. Will this book help me design something quickly? A: A lot of designers have tight turnarounds, so you’ll find advice that could be applied on a shorter timeline. Specifically, you can modify some of the design approaches in Chapters 2, “Learning About Your Learners,” and 3, “Setting the Foundation.” In the chapters about video planning and production (Chapters 6, “Planning Videos, and 7, “Producing Videos”), you’ll learn tips to make simpler videos in case you don’t have time for an extensive video planning and editing process.

You can use this book to design a house for yourself with your family; you can use it to work with your neighbors to improve your town and neighborhood; you can use it to design an office, or a workshop, or a public building. And you can use it to guide you in the actual process of construction. After a ten-year silence, Christopher Alexander and his colleagues at the Center for Environmental Structure are now publishing a major statement in the form of three books which will, in their words, "lay the basis for an entirely new approach to architecture, building and planning, which will we hope replace existing ideas and practices entirely." The three books are The Timeless Way of Building, The Oregon Experiment, and this book, A Pattern Language. At the core of these books is the idea that people should design for themselves their own houses, streets, and communities. This idea may be radical (it implies a radical transformation of the architectural profession) but it comes simply from the observation that most of the wonderful places of the world were not made by architects but by the people. At the core of the books, too, is the point that in designing their environments people always rely on certain "languages," which, like the languages we speak, allow them to articulate and communicate an infinite variety of designs within a forma system which gives them coherence. This book provides a language of this kind. It will enable a person to make a design for almost any kind of building, or any part of the built environment. "Patterns," the units of this language, are answers to design problems (How high should a window sill be? How many stories should a building have? How much space in a neighborhood should be devoted to grass and trees?). More than 250 of the patterns in this pattern language are given: each consists of a problem statement, a discussion of the problem with an illustration, and a solution. As the authors say in their introduction, many of the patterns are archetypal, so deeply rooted in the nature of things that it seemly likely that they will be a part of human nature, and human action, as much in five hundred years as they are today.

“An intense snapshot of the chain reaction caused by pulling a trigger.” —Booklist (starred review) “Astonishing.” —Kirkus Reviews (starred review) “A tour de force.” —Publishers Weekly (starred review) A Newbery Honor Book A Coretta Scott King Honor Book A Printz Honor Book A Time Best YA Book of All Time (2021) A Los Angeles Times Book Prize Winner for Young Adult Literature Longlisted for the National Book Award for Young People’s Literature Winner of the Walter Dean Myers Award An Edgar Award Winner for Best Young Adult Fiction Parents’ Choice Gold Award Winner An Entertainment Weekly Best YA Book of 2017 A Vulture Best YA Book of 2017 A Buzzfeed Best YA Book of 2017 An ode to Put the Damn Guns Down, this is New York Times bestselling author Jason Reynolds’s electrifying novel that takes place in sixty potent seconds—the time it takes a kid to decide whether or not he’s going to murder the guy who killed his brother. A cannon. A strap. A piece. A biscuit. A burner. A heater. A chopper. A gat. A hammer A tool for RULE Or, you can call it a gun. That’s what fifteen-year-old Will has shoved in the back waistband of his jeans. See, his brother Shawn was just murdered. And Will knows the rules. No crying. No snitching. Revenge. That’s where Will’s now heading, with that gun shoved in the back waistband of his jeans, the gun that was his brother’s gun. He gets on the elevator, seventh floor, stoked. He knows who he’s after. Or does he? As the elevator stops on the sixth floor, on comes Buck. Buck, Will finds out, is who gave Shawn the gun before Will took the gun. Buck tells Will to check that the gun is even loaded. And that’s when Will sees that one bullet is missing. And the only one who could have fired Shawn’s gun was Shawn. Huh. Will didn’t know that Shawn had ever actually USED his gun. Bigger huh. BUCK IS DEAD. But Buck’s in the elevator? Just as Will’s trying to think this through, the door to the next floor opens. A teenage girl gets on, waves away the smoke from Dead Buck’s cigarette. Will doesn’t know her, but she knew him. Knew. When they were eight. And stray bullets had cut through the playground, and Will had tried to cover her, but she was hit anyway, and so what she wants to know, on that fifth floor elevator stop, is, what if Will, Will with the gun shoved in the back waistband of his jeans, MISSES. And so it goes, the whole long way down, as the elevator stops on each floor, and at each stop someone connected to his brother gets on to give Will a piece to a bigger story than the one he thinks he knows. A story that might never know an END…if Will gets off that elevator. Told in short, fierce staccato narrative verse, Long Way Down is a fast and furious, dazzlingly brilliant look at teenage gun violence, as could only be told by Jason Reynolds.