Imagens daqui (2012), apresentação para pais e educadores
Pioneering Literacy in the Digital Wild West: Empowering Parents and Educators
There is sustained evidence that there is a lack of opportunity for early years practitioners to engage in professional development in relation to digital literacy to any meaningful extent, as outlined in this report. A range of barriers exists in relation to the furthering of practice (Plumb and Kautz, 2015). A number of barriers relate to the early years practitioners themselves, such as their beliefs and attitudes, their level of confidence in using technologies and their level of technological and pedagogical content knowledge. Research reviewed in this report suggests that many of these barriers emerge from or connect to teachers’ established understandings of the early childhood sector and the curriculum therein. Two binaries may identified there as key in shaping teachers’ practices and beliefs: the binary between “conventional” and new early childhood literacies, and the binary between teachers’ own use and integration of technology in the classroom.
To deconstruct such binaries, one needs to consider how CPD may offer early years practitioners opportunities to engage with their own and others’ epistemological understandings of literacy, as well as realisations of new literacies in (children’s and their own) everyday lives. This would ultimately necessitate and link to a shift in practitioners’ professional identities. There is also a recognised lack of training and support, therefore the development of a CPD programme that might impact positively on these elements is important. It is of course not in itself sufficient – there also needs to be a focus on other barriers to progress, such as a lack of resources and effective policies at a national level. Nevertheless, the development of a CPD programme that embeds the effective elements of such activities, as outlined in Table 1, is required if young children are to be offered early years education that is appropriate for twenty-first century demands. .
Do Resumo(...) De que forma os educadores promovem ou permitem o uso dos LD; que benefícios consideram existir na promoção da leitura e que vantagens e desvantagens lhe reconhecem no desenvolvimento da sua prática pedagógica, tendo em conta os recursos materiais e tecnológicos de que dispõem, são questões a que se procura dar resposta.Assinalam como principais dificuldades as características do material, a pouca qualidade de equipamento informático de que dispõem, as fragilidades da Internet e o número reduzido de computadores, sendo evidenciadas algumas diferenças, quer na forma de utilização quer no reconhecimento das vantagens e desvantagens da sua utilização, em função da idadePalavras-chave: Leitura, literacia emergente, livros digitais, pré-escolar, tecnologias
Imagine taking students for a walk around the solar system during their lesson. Creating more immersive visual experiences are possible within the classroom when digital devices, such as document cameras, student devices, and audio equipment, are networked with interactive projector displays.
Download this eBook for ideas on how today’s projection software can be used to do more, including:
To win a Tech&Learning Award of Excellence (AOE) isn't just a badge of participation. It is an endorsement that your product or service meets the standards of the most innovative edtech educators working in classrooms today. Since 1982, T&L has sought out and celebrated the best in education technology through the AOE. It used to be a simple review of speeds and feeds. Going forward, it won't be that easy. We want to know about how your product or service improves teaching and learning through hearing from those who have been using it.
To help with your application, here are 3 things to keep in mind when submitting:
What? Nominations for Tech & Learning's AOE
When? Submissions open June 25, 2018 and closes Sept. 15, 2018
Why? Your product or service will be recognized by one of the most respected competitions in the edtech space.
Tech & Learning editors and advisors will select 10 finalists in three categories—Best use of edtech in a classroom, school, or district. All finalists will be invited to a special reception at TCEA where the grand prize winners in each category will be announced. These winners will be recognized in the May 2019 issue of Tech and Learning.
The 2018 Awards of Excellence are presented by Tech & Learning and parent company Future plc.
One of the greatest tour stories of jazz takes place not in its birthplace but in Europe, where John Coltrane reluctantly joined Miles Davis for a nine-date “Jazz At The Philharmonic European Tour” in 1960. It’s not down to any shenanigans offstage, but the pure musical fire that erupted onstage. This is the sound of two geniuses pulling apart and heading in different directions. They may have returned to the States at the same terminus, but Coltrane and Davis landed on different planets afterwards.
You can hear that in the above video. Kind of Blue had been released the year before--imagine a time where that was the case!--and here the Davis quintet dive in to “So What” with a fury not heard on the record.
The concerts have been endlessly bootlegged, and rightly so. They are stunning. Several were recorded for radio broadcast, others went into the hands of collectors. Not all of the nine dates are complete, but there’s plenty of magic in those sets to satisfy the curious.
But the final meeting of Coltrane and Davis nearly didn’t happen. Months after the release of Kind of Blue, Coltrane had recorded Giant Steps and was pretty much ready to go his own way. But Davis pleaded with Coltrane--he knew the material really well, of course, having played it all that year--who eventually, reluctantly gave in. (Coltrane did suggest Wayne Shorter take his place, and Davis later brought the young sax man into the group).
Along with Davis and Coltrane, the European tour quintet featured pianist Wynton Kelly, bassist Paul Chambers, and drummer Jimmy Cobb. And according to Cobb, it was obvious Coltrane’s mind was elsewhere on the trip.
“He sat next to me on the bus, looking like he was ready to split at any time. He spent most of the time looking out the window and playing Oriental-sounding scales on soprano.”
But when he was onstage, that tension resulted in the kind of mind-melting solos that made these recordings so essential. The “sheets of sound” that one critic used to describe Coltrane’s style is all here, as are moments where Coltrane just seems to be obsessed with two or three notes, toying with them, trying to uncover their essence. (Some in the audience thought it was too indulgent--you can hear them whistling in disapproval on some of the numbers.) In some of these recordings you also hear Davis becoming the sideman in his own band as Coltrane takes off into the stratosphere. By the way, you can stream the full album on Spotify.
It’s not animosity, just the sound of two artists going their own way, and that’s rarely something that gets recorded. Fortunately, the best of five dates--two in Paris, two in Stockholm, one in Copenhagen--are now officially released, 50-some odd years later for the rest of us to enjoy.
Ted Mills is a freelance writer on the arts who currently hosts the artist interview-based FunkZone Podcast and is the producer of KCRW's Curious Coast. You can also follow him on Twitter at @tedmills, read his other arts writing at tedmills.com and/or watch his films here.
Hear Miles Davis & John Coltrane Battle It Out on Their Final Tour Together, 1960 is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooks, Free Audio Books, Free Foreign Language Lessons, and MOOCs.
Tras sus comparecencias frente al Senado de los Estados Unidos y el Parlamento Europeo para responder por el escándalo de Cambridge Analytica y las violaciones de privacidad en Facebook, Mark Zuckerberg había estado prácticamente desaparecido de la luz pública. Y ahora que decide hablar nuevamente, termina rectificando lo que dijo menos de 24 horas después.
Algunas de las cosas que Zuckerberg dijo en el Podcast de Recode han sido bastante indignantes y confusas para muchos, como sus excusas para los negacionistas del holocausto porque cree que "ellos no entienden que están mal", o no piensa que sea correcto suspender páginas que publiquen noticias falsas o teorías de conspiración.
Cuando han pasado apenas un par de días de la publicación del documental 'Dispatches' que expone cómo la empresa no modera el contenido con violencia infantil y protege a grupos extremistas para "mantener el interés de la gente", que Zuckerberg abiertamente diga que prefieren no filtrar este contenido, es quizás la gota que colma el vaso.
Mark cree que esto es un problema de "libertad de expresión" y que por lo tanto "no van a eliminar a alguien de su plataforma solo porque no entiende las cosas bien", incluso múltiples veces.
"Hay un grupo de personas que niega que el Holocausto haya sucedido. Lo encuentro profundamente ofensivo. Pero al final del día, no creo que nuestra plataforma deba quitar eso, porque creo que hay cosas en las que las personas se equivocan.
Lo que sí quieren hacer es "ralentizar el esparcimiento de las teorías de cospiración o las noticias falsas en la plataforma". Quizás alguien debería darle un libro de virología a Mark, para que vea que la única forma de evitar el esparcimiento de una enfermedad es eliminar al agente que las causa.
Zuckerberg parece seguir con su insistencia de que no quiere ser él quien determine lo que es "malo" o "bueno", pero sí han decidido que tipo de desinformación es "peor que otra", y para ellos es "el contenido que genere violencia en el mundo real".
Tras la controversia causada por sus palabras, el CEO de Facebook tuvo que rectificar y aclarar que personalmente, "considera que la negación del Holocausto es profundamente ofensiva", y que "no tenía la intención de defender la intención de las personas que lo niegan".
Para citar al activista Mitch Kapor, "lo que Zuckerberg necesita entender es que la intención de los negacionistas del Holocausto no es el único estándar de juicio apropiado. Necesitamos debatir los límites de la libertad de expresión, pero es el impacto lo que importa más, no solo la intención".
What Mark Zuckerberg needs to understand the intent of Holocaust deniers is not the sole proper standard of judgment. We can debate limits to free expression, but It's the impact that matters greatly, not just intent https://t.co/yCj2wibhxc— Mitch Kapor (@mkapor) 18 de julio de 2018
Mark puede creer que esta gente "no tiene malas intenciones" porque "no entienden de lo que hablan", pero ese no es el único problema, el problema es el impacto que tiene permitir que este tipo de desinformación se disemine, porque es peligroso para los derechos de otros o de su mera existencia.
Además, al excusar su intención, está haciendo justamente lo que dice que no quiere hacer, determinando que algo no es suficientemente malo para ser eliminado de Facebook, y básicamente adivinando porque el "cree". Son demasiadas contradicciones.
El racismo no es un punto de vista que merezca ser considerado, ni que merezca respeto, no es una opinión que debe ser amparada en tu libertad de expresión si va en contra de los derechos fundamentales de otro, o hasta de su derecho a la vida.
La falta de acción de Facebook por querer mantenerse neutrales y no decidir "lo que es bueno o malo", al final termina permitiendo que este tipo de cosas tengan un impacto negativo en el mundo real, porque todo cuenta como el mundo real así sea solo dentro de la pantalla, porque lo que vemos y leemos en linea nos influencia.
Pero claro, tenemos que citar a uno de los moderadores de contenido de Facebook en esto: "Si empiezas a censurar mucho la gente pierde interés en la plataforma, al final del día todo se trata de hacer dinero".
La noticia Mark Zuckerberg rompe el silencio y termina defendiendo a los que niegan el holocausto y su derecho a publicar noticias falsas fue publicada originalmente en Genbeta por Gabriela González .
Imagine you're a "hypereducated avant-gardist in grad school learning to write." But at your grad school, "all the teachers are realists. They're not at all interested in postmodern avant-garde stuff." They take a dim view of your writing, you assume because "they just don't happen to like this kind of aesthetic," but actually because your writing isn't very good. Amid all this, with you "hating the teachers but hating them for exactly the wrong reasons," David Lynch's Blue Velvet comes out. Not only does it belong to "an entirely new and original kind of surrealism," it shows you that "what the really great artists do is they're entirely themselves. They've got their own vision, their own way of fracturing reality, and that if it's authentic and true, you will feel it in your nerve endings."
This happened to David Foster Wallace, as he says in the clip above from his 1997 appearance on Charlie Rose, one of his very few interviews on video. He went on the show, seemingly under duress, to promote his collection A Supposedly Fun Thing I'll Never Do Again, which among its long-form essays on the cruise ship experience, the Illinois State Fair, and professional tennis contains a piece on the man who made Blue Velvet.
"Lynch has remained remarkably himself throughout his filmmaking career," Wallace writes in the version of the article that first ran in Premiere. Whether "Lynch hasn't compromised or sold out" or whether "he hasn't grown all that much," the fact remains that he has "held fast to his own intensely personal vision and approach to filmmaking, and that he's made significant sacrifices in order to do so."
Elsewhere in the piece, Wallace describes the adjective "Lynchian" as "referring to a particular kind of irony where the very macabre and the very mundane combine in such a way as to reveal the former's perpetual containment within the latter." When Rose asks Wallace about the meaning of the word, Wallace explains that "a regular domestic murder is not Lynchian. But if the police come to the scene and see the man standing over the body and the woman's 50s bouffant is undisturbed and the man and the cops have this conversation about the fact that the man killed the woman because she persistently refused to buy, say, for instance, Jif peanut butter rather than Skippy, and how very, very important that is, and if the cops found themselves somehow agreeing that there were major differences between the brands and that a wife who didn't recognize those differences was deficient in her wifely duties, that would be Lynchian."
A few years ago Youtube channel Dom's Sketch Cast turned Wallace's vision of an ideally Lynchian scene into the animation above. Lynch's visions exist, Wallace says to Rose, at "this weird confluence of very dark, surreal, violent stuff and absolute, almost Norman Rockwell-banal American stuff, which is terrain he's been working for quite a while — I mean, at least since Blue Velvet." Though Lynch may owe certain stylistic debts — "to Hitchcock, to Cassavetes, to Robert Bresson and Maya Deren and Robert Wiene" — nothing like the Lynchian existed in any tradition before he came along. Lynch has his detractors, but "if you think about the outrageous kinds of moral manipulation we suffer at the hands of most contemporary directors, it will be easier to convince you that something in Lynch's own clinically detached filmmaking is not only refreshing but redemptive" — and, as a young David Foster Wallace found in the theater that spring of 1986, revelatory.
The full Wallace-Rose interview appears below.
Based in Seoul, Colin Marshall writes and broadcasts on cities and culture. His projects include the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.
David Foster Wallace Explains How David Lynch’s <i>Blue Velvet</i> Taught Him the True Meaning of Avant Garde Art is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooks, Free Audio Books, Free Foreign Language Lessons, and MOOCs.
Si buscas "idiota" en Google España, también se cuelan unas cuantas fotos del presidente norteamericano, pero los resultados de búsqueda de "idiot" son básicamente una galería de Donald Trump.
Todo esto es gracias en parte a la opinión pública, pero en mayor parte a una táctica llamada "Google bombing" que está siendo usada por activistas para influenciar el algoritmo del buscador, y está funcionando.
Luego de la visita de Trump a Reino Unido el pasado fin de semana, una que fue recibida con múltiples protestas, fotos de Trump comenzaron aparecer en las búsquedas de la palabra "idiot" después de que la gente intentara hacer tendencia la canción 'American Idiot' de Green Day, pero la idea no paró ahí.
Los protestantes están publicando artículos en sus plataformas asociadas con la palabra, y mientras más publican y más enlazan, más probabilidades hay de influenciar el algoritmo de Google, a pesar de las medidas que toma el buscador para prevenirlo.
De hecho, cuando esta noticia fue publicada en Business Insider a ellos los resultados les mostraron fotos de Trump en 8 de 10 de las primeras imágenes, a nosotros nos aparece ya en 18 de las 19 primeras fotos de la búsqueda, se interrumpe y sigue la galería con más.
Y lo gracioso es que mientras más medios hablen de este asunto, más fuertemente se asocia la palabra "idiota" con Trump en los resultados del buscador.
La noticia Internet lo hace de nuevo, si buscas la palabra "idiot" en Google, los resultados son fotos de Donald Trump fue publicada originalmente en Genbeta por Gabriela González .
Opera es uno de los navegadores más utilizados del mundo, pero muchos usuarios no se atreven a dar el salto porque se sienten atados a Chrome y su grandísima oferta de extensiones.
Eso sí, esta funcionalidad (de momento) sólo está disponible en la beta de Opera 55 (Chromium 68.0.3440.42). Eso significa que si instalas la versión beta de este navegador podrás agregarle extensiones de Chrome con un sólo click desde la Chrome Web Store.
Anteriormente, los usuarios de Chrome tenían que instalar una extensión especial llamada Install Chrome Extensions, desarrollada específicamente por Opera y con la que buscaban atraer a los usuarios del navegador de Google.
Además de este importante cambio, en la entrada han anunciado una nueva página de Opciones, dividida en dos categorías: básica y avanzada. De esta manera, la beta de Opera 55 se acerca a la página de Configuración que presentó Chrome hace varias versiones.
También se ha renovado el popup que sirve para mostrar que estamos ante una página segura, mostrando toda la información importante en un mismo lugar. Tenemos la oportunidad de acceder a opciones de Flash, sincronización en segundo plano, portapapeles, etc.
Si estás interesado en instalar la beta de Opera 55 y probar todas estas novedades, simplemente tienes que ir a esta página y buscar en la parte inferior la versión para tu sistema operativo (Windows, macOS o Linux).
La noticia Ya puedes instalar extensiones de Chrome directamente en Opera fue publicada originalmente en Genbeta por Santi Araújo .
In her landmark study The Body in Pain, Elaine Scarry describes “the annihilating power of pain,” which is “visible in the simple fact of experience observed by Karl Marx, ‘There is only one antidote to mental suffering, and that is physical pain.’” Marx’s comment defines a class distinction between types of pain: that of the overtaxed body of the worker and the mind of the bourgeois subject with the liberty for morbid self-reflection. His pronouncement, Scarry writes, is “only slightly distorted in Oscar Wilde’s ‘God spare me physical pain and I’ll take care of the moral pain myself,’” a somewhat glib admission of the relative privilege of mental suffering in comparison to torture.
This distinction becomes even more pronounced in later reflections, such as ultra-conservative German writer and WWI war hero Ernst Jünger’s Nietzschean 1934 essay “On Pain,” which asks, “what role does pain play in the new race we have called the worker that is now making its appearance on the historical stage?” Physical pain, writes Jünger is one of “several great and unalterable dimensions that show a man’s stature… the most difficult in a series of trials one is accustomed to call life…. Tell me your relation to pain, and I will tell you who you are!”
This idea of the sharpening effect of physical pain as an “antidote” or heroic trial distinct from mental suffering persists long into the 20th century when Freudian trauma studies, the diagnosis of PTSD in veterans, and the work of psychiatrists like Bessel Van Der Kolk begins to collapse the categories and unite the suffering of mind and body. The experiences of soldiers, prisoners, victims of abuse and assault, Holocaust survivors, enslaved people, etc. are then seen in a different light, as composed of emotional anguish as real as their physical suffering, which manifests somatically and in extreme cases even, perhaps, alters DNA.
Long before the paradigmatic shift in the recognition of trauma, Wilde, who had made light of “moral pain” in his aphorism, explored suffering in great depth in his De Profundis. Ostensibly an open letter to his lover Lord Alfred Douglass, Wilde penned the piece while imprisoned in Reading Jail from 1895-97 for “gross indecency.” While there, he endured both physical and psychological torment. As Ireland’s Raidió Teilifís Éireann writes:
Wilde was kept in total isolation, first in Pentonville and Wandsworth prisons. For the first month of his sentence, he was tethered to a treadmill six hours a day, with five minutes’ rest after every 20 minutes. At Reading Jail, to which he was moved in November 1895, he slept on a plank bed with no mattress and he was allowed only one hour’s exercise a day. He would walk in single file in the yard with other prisoners but was forbidden contact with them. Wilde slept little, was hungry all of the time, and suffered from dysentery during his incarceration.
During his two-year incarceration, his mother died. “I, once a lord of language,” he wrote, “have no words in which to express my anguish and shame.” Nonetheless, he found the words, a profusion of them, writes Max Nelson at The Paris Review, "petulant, vindictive, bathetic, indulgent, excessive, florid, massively arrogant, self-pitying, repetitive, showy, sentimental, and shrill," searching, as he put it, to express "that mode of existence in which soul and body are one and indivisible: in which the outward is expressive of the inward: in which Form reveals."
They were first published in 1905 in an edited version, and it is that version you can hear read—prefaced by a sung lament—above in a dolorous monotone by Patti Smith, who conveys with voice and body the tenor of Wilde’s prose. The letter, writes Wilde's biographer Richard Ellmann, is "one of the greatest and the longest" love letters "ever written." (See a scan of the original manuscript at the British Library site.)
The reading took place in the former chapel of Reading Jail in 2016, opened to the public for the first time “for an exhibition of art, writing and performance,” notes Artangel, sponsor of the event. We’ve previously featured a short excerpt of Smith’s reading. Above, you can see her full 3-hour performance, complete with her own interjections and interactions with the audience. De Profundis begins with one of the most eloquent descriptions of deep depression in modern literature, an experience of paralysis that traps its sufferer in a mental prison of stuckness in time:
. . . Suffering is one very long moment. We cannot divide it by seasons. We can only record its moods, and chronicle their return. With us time itself does not progress. It revolves. It seems to circle round one centre of pain. The paralysing immobility of a life every circumstance of which is regulated after an unchangeable pattern, so that we eat and drink and lie down and pray, or kneel at least for prayer, according to the inflexible laws of an iron formula: this immobile quality, that makes each dreadful day in the very minutest detail like its brother, seems to communicate itself to those external forces the very essence of whose existence is ceaseless change. Of seed-time or harvest, of the reapers bending over the corn, or the grape gatherers threading through the vines, of the grass in the orchard made white with broken blossoms or strewn with fallen fruit: of these we know nothing and can know nothing.
For us there is only one season, the season of sorrow.
Read a later 1913 edition of Wilde’s letter here. The complete, unedited text was first published in 1962.
Patti Smith Reads Oscar Wilde’s 1897 Love Letter <i>De Profundis</i>: See the Full Three-Hour Performance is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooks, Free Audio Books, Free Foreign Language Lessons, and MOOCs.
Today, MDR, a division of Dun & Bradstreet, released the second in its State of the K-12 Market Report 2018 series, Teachers Talk Technology, creating a snapshot of how teachers across the country are using classroom technology. More than 4,400 teachers participated in this nationwide survey and online bulletin board sharing insights about what devices, applications, websites, and other technology tools are used in schools.
The report reveals that 77 percent of teachers state that they and their students have access to wireless internet in most places in their schools. This access allows them to leverage the devices available for learning in their classrooms, with Chromebooks having the most prevalent use at 26 percent, followed by PCs (14 percent), iPads (11 percent), and Macs (3 percent). While 1:1 computing and bring your own device (BYOD) programs may get news coverage, only 12 percent of teachers reported that their students are equipped with technology both at school and at home, and just 6 percent reported that their students are allowed to use their own devices in the classroom.
Teachers shared their views on both the benefits and challenges of using technology for learning.
The report also features:
• An account of internet access and speeds in schools nationwide
• Teacher’s access to devices in the classroom
• Top education applications and websites
• Learning Management and Student Information System usage
• Opinions on emerging technology trends
• Qualitative feedback and commentary directly from the educators
The complete Teachers Talk Technology report can be purchased for $1,499 at https://mdreducation.com/reports/teachers-talk-technology/.
Guest post by Steven Baule: As most T&L readers know, the Hour of Code is an organization set up to support integrating computer science instruction into K-12 education. Each year, during Computer Science Education Week, the first full week of December, the Hour of Code organization organizes and supports multiple events to highlight the need for computer science skills. As we are about six months away from CSE Week, it seems like a good time to remind educators about the need to prepare for the event to make sure students have opportunities to fully participate. With six months’ notice, hopefully, all students will have the opportunity to participate in learning about computer science and experiencing the satisfaction of successfully completing a coding project. Code.org outlines nine things that could be done to assist the development of K-12 computer science resources. Code.org and Hour of Code both offer a range of activities for teachers to use with their students. Code Academy, Code Avengers, Khan Academy, and Exploring Computer Science are additional potential resources for teachers to use with their students. As most educators have a bit less stressful schedule in July, it seems like a good time to encourage everyone to help expand the CS experiences of our students this fall and into the future.
7 Mindsets, the national leader in mindsets-based social and emotional learning (SEL) curriculum and activities, today announced a new portal to house its curriculum and SEL facilities for teachers to use. The portal makes the platform more accessible and adaptable, and provides an easier way for teachers to connect with their students.
With the addition of the teacher portal, 7 Mindsets has added the following features for elementary, middle, and high school:
· Curriculum for staff meetings;
· A parent portal with best practices, dinner table conversations about 7 Mindsets, newsletters, sample presentations, community best practices, and more;
· A resource hub, which includes a library of SEL media based on the book The 7 Mindsets;
· Self-paced professional development;
· A list of 10 core competencies; and
· The Leadership Zone training platform, which included tools for principals and teachers.
Educators who are interested in learning more can sign up for a demo here.
Hace unos meses, Google añadió una funcionalidad a Gmail mediante la cual podemos tener a mano addons de terceros dentro del cliente de correo más famoso y utilizado del planeta.
De esta manera, podemos acceder a nuestras tareas de Trello o Asana sin abandonar el email que estamos escribiendo. Hoy vamos a agregar una funcionalidad mucho más útil y divertida: la posibilidad de responder a ciertos correos con un GIF.
Lo bueno de estos addons es que se pueden instalar desde cuentas personales de Gmail como desde aquellas que forman parte de G Suite. Otro punto positivo es que se pueden utilizar tanto desde la versión web como desde la aplicación para Android.
Para agregar cualquier addon a Gmail, simplemente tenemos que loguearnos con nuestra cuenta y hacer click en el botón "+" que aparece debajo del icono de Google Calendar, Google Keep y Tareas (barra de la derecha).
Al hacerlo, se abrirá una ventana que nos permitirá ver todos los addons de terceros disponibles y en la parte superior aparece un buscador por si estamos buscando un servicio en concreto.
Gfycat es una de las plataformas más conocidas para crear, almacenar o buscar GIFs. Al añadir este addon a Gmail podremos contestar a los correos de una manera rápida y visual con un par de clicks.
Al darle a instalar, nos pedirá que aceptemos una serie de permisos y a partir de ahora nos aparecerá el logo de Gfycat en la barra de la derecha cada vez que estemos dentro de un correo.
Si lo pulsamos, por defecto aparecerán los GIFs que estén de moda en este momento, pero tenemos la opción de buscar por diferentes "reacciones": gracias, buenas noches, divertidas, guiños, aplausos, etc.
Obviamente, también existe un buscador por si estamos buscando GIFs más específicos. Un punto positivo es que puedes subir tus propios GIFs a Gfycat y luego tenerlos a mano para responder desde Gmail.
Aunque Gmail ahora tiene integradas respuestas inteligentes, con esta sencillo truco podrás responder a los correos de una manera rápida y más personalizada.
La noticia Cómo responder fácilmente con GIFs a tus correos de Gmail fue publicada originalmente en Genbeta por Santi Araújo .