Researching a Public Figure’s Online Identity

Screenshot of Jazz Jennings' Twitter Profile, on November 30, 2017Inspired by Virginia Tech Libraries’ digital literacy initiative, I am sharing a series of activities that ask students to examine how digital technology shapes literacy and the ways that people interact with others in my recent posts. So far, I have posted an activity on the definitions of digital native and digital literacy and an activity on digital literacy and online identity.

This week I have a collaborative research project that students complete to learn more about how online identities work. Depending upon the depth of research you ask for, this activity will take anywhere from one to two weeks of class sessions for collaborative work and presentations.

The Assignment

In this scenario-based assignment, your group has been hired by the manager of a public figure to assess the online identity of their client. The manager wants an honest and objective presentation on the client, showing both the good and the bad. Your group will present to the manager, the public figure, and other members of the figure’s inner circle. The manager will use the information your group shares to create a plan to strengthen the client’s online reputation and improve the client’s overall reception with the public.

Step 1: Set up group collaboration rules and decide how you want to share the information that you gather with one another. You might set up a shared folder on Google Drive, for example, so that everyone can access what you find.

Step 2: Choose a public figure to investigate. For the purposes of this assignment, a public figure can be someone such as a celebrity, artist, writer, politician, public official, or industry leader. The public figure you choose must be a living person. Do not choose a fictional character, for instance. Additionally, to avoid any potential invasion of privacy, do not choose any students on campus. Be sure that you receive approval for your public figure before you proceed to the next step of the assignment.

Step 3: Create a list of the online places that your public figure has posted information or where others post information in response to or about your figure. Include the name and the link. Additionally, spend some time assessing the reputation of the sites and consider whether each site is a positive, neutral, or negative impact on the figure’s identity. Check places like the following:

  • Social media sites (like Facebook, Twitter, Pinterest, and Instagram)
  • Professional networking and job search sites (like LinkedIn)
  • Blogging sites
  • Personal and work websites
  • Video sharing sites (like YouTube, Vine, and Vimeo)
  • Hobby or special interest sites (places where the figure might post or comment)
  • News and current event sites (that might publish stories or interviews about the figure)

Step 4: Gather evidence of the public figure’s online identity. . Consider what the person chooses to put online (personally or through a proxy) and what others put online about that person by examining and collecting information like the following:

  • the words that the figure posts
  • the images that the figure posts
  • the facts that the figure posts
  • the opinions that the figure shares
  • the products and services that the figure endorses
  • the people that the figure recommends or mentions
  • the messages that the figure shares (e.g., retweets, forwards)

Step 5: Review all the information that you have gathered. As a group, look for patterns and connections that appear among the different sites, building an online identity for the public figure you have researched. As you draw conclusions, use the journalist’s questions to think through ideas:

  • who does the figure care about, talk about, appear with, and so forth
  • what does the figure do, use, care about, and so on
  • where does the figure go, visit, stay, and so forth
  • when does the figure seem to be active (what time of day? what days of the week? any special events?)
  • why does the figure share information online (what is the purpose or goal of the online identity?)
  • how does the figure share information online (posts personally, forwards a lot of information, has a PR manager to do the work)
  • how often does the figure share information online

Step 6: Use your research and analysis to create a seven to eight minute group presentation that describes the online identity of the public figure you have examined to the manager, the public figure, and other members of the figure’s inner circle. Share the conclusions that you have drawn about the strengths and weaknesses of the public figure’s online identity, including concrete details from your research as support. Conclude your presentation with some suggestions to strengthen the public figure’s online reputation and improve their overall reception with the public.

What’s Next?

After working together to investigate someone’s online identity, students should be ready to examine their own online identities independently—and that is the topic of my next posts. I will share some specific activities that ask students to examine their online identities and consider what they can do to improve their reputation as digital natives. If you have suggestions for activities or questions about how to talk about these issues in the classroom, please leave me a comment below.

 

[Photo: Screenshot of Jazz Jennings’ Twitter Profile, taken on November 30, 2017]

This post originally published on the Bedford Bits blog.

Revising the Resources List on My Syllabus

Stack O' Books by Kurtis Garbutt, on FlickrThis week’s post on Bedford Bits describes the work I have begun on revising my course documents to make them more visual. The ultimate goal is to make them more engaging and more useful to students.

I started with the required resources, which has been nothing but a glorified book list for as long as I can remember. My revised version still lists books, but I have tried to add some negative space and color to make it easier to read and a bit more friendly.

Read the full details in the blog post on the Macmillan Community site.

 
Image: Stack O' Books by Kurtis Garbutt, on Flickr

Connecting Selber and Halliday

Cover of Selber's Multiliteracies for a Digital AgeEver since I looked at the review of Stuart Selber’s Multiliteracies for a Digital Age in Composition Forum 14.2 (Courtesy of a tip from Bradley Dilger), I have been reflecting on my notes about M. A. K. Halliday’s literacy engagements.

I have a pile of old notes on how I thought Halliday might be used to understand technology engagement from my time at ReadWriteThink when the site used Halliday to structure the site.

Halliday’s literacy engagement system (learning language, learning about language, learning through language) parallels Selber’s. There are nuances that would need worked out, but generally I think I could argue that literacy learning follows the same kinds of meaning making, even when the kinds of literacy are different. I’m just not sure that matters as an observation. What does that knowledge really bring to the conversations and scholarship on literacy?

Alphabetic Text as the Only Text

Page from a French ABC picture book for the letter A, showing asparagus and an ostrichI’m befuddled by this MLA call for proposals for a volume on the Changing Role of Writing in Composition.

Everything I understand about multimodal texts tells me that any alphabetic text is not tapping the linguistic mode alone; but from reading this CFP, you’d think that spatial and visual modes (for say a paperback book) weren’t a thing until this “turn toward multimodality.”

I’ve read and reread the call, trying to figure it out. I thought maybe I was just not getting something (blame imposter syndrome). For the life of me though, I can’t figure out how to respond to that while talking ONLY about alphabetic text (which is culturally limiting in addition to not making sense in a multimodal context). I’d really love to submit something to the call; but I can’t figure out how to work within such a limited vision of what it is to be multimodal.

 
Image: abc album p1 by patricia m, on Flickr, used under the CC BY-SA 2.0 license.

Tools for Teaching Accessiblity?

Look out! Blind People cyclingSo I’ve been considering some of the issues that have been raised at the 2015 Summer Seminar: Access/ibility in Digital Publishing, trying to figure out where I fit in. I have some experience with many different kinds of issues, but I haven’t completely figured out where I belong in the conversations the group has been having.

So I began thinking about how many students (and probably many authors) respond to concerns about making their work accessible. There’s push back, reluctance, and sometimes even refusal. It’s more than simply not wanting to do the extra work or not knowing how to do what’s necessary. I think it’s a failure to understand, even to recognize their privilege–and as a result, an inability to know what needs to change to make a project more accessible.

An example might help. Let’s say a writer adds a photo to something. She might understand that she should include an alt tag for that image, but does she understand how to write a rhetorically effective alt tag? Does she know about long descriptions? Has she ever interacted with a reader with low or no vision? How do you teach someone not to see so that she can understand the needs of her readers?

As I tried to puzzle out this complicated task of extending accessibility of a project (and we are talking about extending. These projects are already accessible. They are just not accessible to everyone or in every way possible), so as I was trying to puzzle out making a project accessible, I began wondering about the opposite (so to speak) of the task. Would I ever ask a person with low or no vision to make a project more visual by adding color, illustrations, and design elements? If I did, what kind of support would I need to provide her? How would I help her understand visual aspects that she (possibly) had never seen and might never use as she herself accessed a text? How would she know if she was meeting her goals?

A sighted writer who has never consciously worked to make a project accessible to someone with low or no vision likely feels she’s confronting similar constraints. She cannot see the absences in the project that she needs to fill out, and she doesn’t understand the extent to which she needs to fill them out. Her privileges as a sighted writer is not obvious to her.

So my question, or perhaps the challenge I’d love to address, is how do I find ways to help those who do not need alternate accessibility paths understand the task of adding them to a text? What tools are available to help such a writer understand the accessibility needs? I’m not looking for the tools to add accessibility, but teaching tools and strategies to help people understand why those accessibility tools are necessary and how they add layers of access to the project. What tools can help her understand the difference between simplistically making something accessible and making it deeply accessible?

I think there are some obvious strategies that people use, like trying to read a text with a screen reader and working to notice what is missing and what doesn’t work. There are accessibility checkers online that people can apply to their texts. I’m not satisfied that tools like these are the best solution. I’m not sure what is.

Faking Social Media Updates

One of my favorite projects has students creating social media updates from someone else’s point of view. Students choose fictional or nonfictional characters and then create Tweets, Facebook status updates, and Instagram posts.

Three Little Pigs Tweet

The challenge is that I don’t want to encourage students to litter the Information Superhighway with dozens of throw-away accounts, used for maybe a dozen posts and then abandoned. For me, a collection of tools that let students fake social media updates has been the answer. I’ve listed my favorites in a post on my Bedford Bits blog.

[Photo: Fake Tweet created by tengrrl with simitator.com. Three Pigs profile photo by sarahemcc, on Flickr.]

 

Remembering Maya Angelou

Maya Angelou visits YCP! 2/4/13Poet and author Maya Angelou died Wednesday, May 28, in her home in Winston-Salem, North Carolina. Angelou is considered one of the finest poets of her generation. In addition, she authored several books chronicling her youth and adolescence, including I Know Why the Caged Bird Sings.

Find related web resources and lesson plans on Angelou on the ReadWriteThink calendar entry for her birthday. For excerpts from an interview with Angelou, consider sharing ‘Fresh Air’ Remembers Poet And Memoirist Maya Angelou with students.

A simple way to remember Angelou in your classroom this week is to ask students to explore some resources about the author and then use one of ReadWriteThink’s interactives or mobile apps to write about her:

 

[Photo: Maya Angelou visits YCP! 2/4/13 by York College ISLGP, on Flickr]

Finding Persuasion in Unexpected Places

SLC2As I did last summer, I spent twelve days this month with my sister on a road trip from Virginia to Utah, with a stay in Salt Lake City for the Stampin’ Up convention in the middle. I learned a number of interesting ideas at the convention, both for my hobby of scrapbooking and cardmaking and for teaching and creativity in general. The most interesting thing that I came upon, however, was the garbage and recycling bins (shown right) in the Salt Palace Convention Center where the event was held.

Read my full post on the Bedford Bits site.

my #clmooc journey so far

Our project for the third week of #clmooc was to make a map of some kind. I took the first option and created this map of my journey in this course so far. If the text size is too small, click on the Prezi logo to see the full-width version.

24 Free Audiobooks to Download This Summer

Sync IconIf you like audiobooks, check out the free young adult audiobook downloads from Sync YA Audiobooks. It’s 24 books–two each week starting on May 30.

I’ve downloaded these books the past two summers, and they are excellent books each year. It’s a great way to build your audiobook library. Each week, they post one recent title, and one classic text that explores similar themes. For example, the first week, they are pairing Of Poseidon by Anna Banks, read by Rebecca Gibel (AudioGO) with The Tempest by William Shakespeare, read by a Full Cast (AudioGO). So even if you aren’t working with teens (or don’t have teens at home), you may find the classics each week worth downloading.

Get more info on their website and check out the Tool Kit for posters, bookmarks, and other graphics that you can download to spread the word about the books.

There’s a linked version of the full schedule on the site, but to
get you excited, I’ve pasted it in below too:

May 30 — June 5, 2013
Of Poseidon by Anna Banks, read by Rebecca Gibel (AudioGO)
The Tempest by William Shakespeare, read by a Full Cast (AudioGO)

June 6 — June 12, 2013
The Incorrigible Children of Ashton Place, Book 1: The Mysterious Howling by
Maryrose Wood, read by Katherine Kellgren (HarperAudio)
Jane Eyre by Charlotte Brontë, read by Wanda McCaddon (Tantor Audio)

June 13 — June 19, 2013
The Raven Boys by Maggie Stiefvater, read by Will Patton (Scholastic
Audiobooks)
Bless Me, Ultima by Rudolfo Anaya, read by Robert Ramirez (Recorded Books)

June 20 — June 26, 2013
Once by Morris Gleitzman, read by Morris Gleitzman (Bolinda Audio)
Letter From Birmingham Jail by Martin Luther King, Jr., read by Dion Graham
(christianaudio)

June 27 — July 3, 2013
Rotters by Daniel Kraus, read by Kirby Heyborne (Listening Library)
Frankenstein by Mary Shelley, read by Jim Weiss (Listening Library)

July 4 — July 10, 2013
Carter Finally Gets It by Brent Crawford, read by Nick Podehl (Brilliance
Audio)
She Stoops to Conquer by Oliver Goldsmith, read by a Full Cast (L.A. Theatre
Works)

July 11 — July 17, 2013
The Peculiar by Stefan Bachmann, read by Peter Altschuler (HarperAudio)
Oliver Twist by Charles Dickens, read by Simon Vance (Tantor Audio)

July 18 — July 24, 2013
Grave Mercy by Robin LaFevers, read by Erin Moon (Recorded Books)
Hamlet by William Shakespeare, read by a Full Cast (L.A. Theatre Works)

July 25 — July 31, 2013
The False Prince by Jennifer A. Nielsen, read by Charlie McWade (Scholastic
Audiobooks)
The Prince and the Pauper by Mark Twain, read by Steve West (Blackstone
Audio)

Aug 1 — Aug 7, 2013
Death Cloud by Andrew Lane, read by Dan Weyman (Macmillan Audio)
The Adventures of Sherlock Holmes by Arthur Conan Doyle, read by Ralph
Cosham (Blackstone Audio)

Aug 8 — Aug 14, 2013
Enchanted by Alethea Kontis, read by Katherine Kellgren (Brilliance Audio)
Through the Looking Glass by Lewis Carroll, read by Miriam Margolyes
(Bolinda Audio)

Aug 15 — Aug 21, 2013
Sold by Patricia McCormick, read by Justine Eyre (Tantor Audio)
Let Me Stand Alone by Rachel Corrie, read by Tavia Gilbert (Blackstone
Audio)