Escape Rooms first came to America in 2012-2013 from Asia and Europe, quickly spreading across the country. As defined by Professor Scott Nicholson, “escape rooms are live action team based games where players discover clues, solve puzzles, and accomplish tasks in one or more rooms in order to accomplish a specific goal (usually escaping from the room) in a limited amount of time.” It should come as little surprise, but before long, innovative educators were adapting the escape room format for a wide-range of content. Last year, at Minefaire, I met Adam Bellow. Adam was honored
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Michiko Kakutani of the New York Times recently quoted President Obama as he reflected on his Secret to Surviving the White House Years: Books. “At a time,” Obama says, “when so much of our politics is trying to manage this clash of cultures brought about by globalization and technology and migration, the role of stories to unify — as opposed to divide, to engage rather than to marginalize — is more important than ever.” In today’s polarized environment, where the internet has let people increasingly retreat to their own silos (talking only to like-minded folks, who
“Data is always lying to you… but, we can fix it, sometimes, maybe.” That’s how Patrick Ball, director of research for the Human Rights Data Analysis Group, opens his podcast, “Understanding Patterns of Mass Violence with Data and Statistics.” Published earlier this month, the podcast is part of Databites, a speaker series by Data & Society, a research institute in New York City that focuses on the social and cultural issues arising from data-centric technological development. The idea that observable data are the same as patterns of behavior is a “naïve model,” Ball says, adding that
I’m no longer surprised when new media trends turn out to be rooted in decades-old practices. Netprov — networked, improvised storytelling in available media — is a “new” media form that actually goes back to the early days of computer-mediated communication (decades before the term “social media” emerged). Improvised storytelling online was one of my early joys when I discovered text-only conversations on BBSs, Usenet, MUDs, Compuserve, The Source and the WELL in the early 1980s. At that time, I called the practice “writing as a performing art.” A comment thread sometimes started out as or turned into
Anxious about the widespread consumption and spread of propaganda and fake news during this year’s election cycle, many progressives are calling for an increased commitment to media literacy programs. Others are clamoring for solutions that focus on expert fact-checking and labeling. Both of these approaches are likely to fail — not because they are bad ideas, but because they fail to take into consideration the cultural context of information consumption that we’ve created over the last 30 years. The problem on our hands is a lot bigger than most folks appreciate. What Are Your Sources? I remember a
“If you stare at a painting and do not see yourself there, paint your own portrait.” — Spike Lee and Tonya Lewis Lee, “Giant Steps to Change the World” At her neighborhood library in Philadelphia recently, an 8-year-old girl enthusiastically sang a couple songs, danced, shared jokes, discussed her birthday wishes and read several books with her incarcerated mom via video conference. The hour-long encounter, made possible by the Free Library of Philadelphia’s Stories Alive program, was the second for the mother and daughter. “She was so excited to see her mother again,” said Titus Moolathara,
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This collaborative blog and curated collection of free and open resources is produced by the Digital Media & Learning Research Hub, which is dedicated to analyzing and interpreting the impact of the Internet and digital media on education, civic engagement, and youth.
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