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John Evans

Teen Voices: Dating in the Digital Age | Pew Research Center - 2 views

www.pewinternet.org/online-romance

teen voices dating digital age pew research center

shared by John Evans on 07 Oct 15 - No Cached
  • John Evans on 07 Oct 15
     
    "From heart emojis on Instagram to saying goodbye to a relationship with a text message, digital technology plays an important role in how teens seek out, maintain and end relationships. In a series of focus groups conducted by the Pew Research Center online and in cities across the U.S., over 100 teens shared with us their personal experiences with social media and romantic relationships. These are some of the key themes and responses we heard during these data-gathering sessions."
John Evans

Age of Distraction: Why It's Crucial for Students to Learn to Focus | MindShift | KQED ... - 0 views

ww2.kqed.org/...for-students-to-learn-to-focus

distraction technology focus students

shared by John Evans on 15 Sep 15 - No Cached
  • John Evans on 15 Sep 15
     
    "Digital classroom tools like computers, tablets and smartphones offer exciting opportunities to deepen learning through creativity, collaboration and connection, but those very devices can also be distracting to students. Similarly, parents complain that when students are required to complete homework assignments online, it's a challenge for students to remain on task. The ubiquity of digital technology in all realms of life isn't going away, but if students don't learn how to concentrate and shut out distractions, research shows they'll have a much harder time succeeding in almost every area."
John Evans

Easily create an eBook with these 3 powerful apps - Daily Genius - 0 views

dailygenius.com/create-an-ebook

ebook creation apps daily genius

shared by John Evans on 08 Jan 15 - No Cached
  • John Evans on 08 Jan 15
     
    "Digital books are transforming the way students of all ages learn today. The interactive elements of digital books enhance the learning experience, making it far more informative and interesting than before. Many teachers today are embracing this new media and producing some high quality student-made eBooks in their classrooms. One of the most fascinating ways to create an eBook is using a mobile device, particularly, an iPad. StoryKit, Book Writer, and Book Creator are 3 apps my students have used to create some highly interactive, professionally looking eBooks. All three apps are excellent examples of tools that allow students to unleash their creativity and tell their own stories."
John Evans

Epic! presents a gift for educators - @joycevalenza NeverEndingSearch - 2 views

blogs.slj.com/...epic

epic presents gift educators librarians joycevalenza

shared by John Evans on 26 Sep 14 - No Cached
  • John Evans on 26 Sep 14
     
    "This week Epic! offered classroom teachers and school librarians in the U.S. and Canada free, forever, single subscription access to its iPad app, an "ever-growing library of high-quality children's books from some of the world's best publishers." Epic! calls itself the first "All-You-Can-Read" eBook service for kids. It currently offers thousands of digital titles from 40 publishing partners, including HarperCollins, Simon & Schuster, National Geographic, Kids Can Press, Blue Apple Books. The growing digital collection of titles for ages 2 through 12 includes many recent and award-winning books and represents a mix of fiction and nonfiction. New titles are added each week."
John Evans

The Tech Behind Your Favorite Comic Books | PCMag.com - 1 views

www.pcmag.com/...hind-your-favorite-comic-books

tech behind favorite comic books comic books

shared by John Evans on 04 Oct 18 - No Cached
  • John Evans on 04 Oct 18
     
    "Stan Lee, Jack Kirby, Bill Finger, Bob Kane, Joe Simon, Steve Ditko, Jerry Siegel, Joe Shuster, and dozens of other Golden and Silver Age visionaries produced superhero, romance, western, horror, and crime comics using the craftsman's tools of their day: paper, typewriters, pencils, brushes, inks, and dyes. From the 1930s until roughly the mid-1990s, comic books were produced almost entirely in this fashion, with a few digital blips along the way. But as electronic tools became increasingly affordable and powerful, the comic book creation process shifted from an analog process to a digital one. In contemporary times, there's a good chance that no aspect of your favorite title is physical until finished pages start rolling off a printing press."
Clint Hamada

The Code of Best Practices in Fair Use for Media Literacy Education -- Publications --... - 7 views

www.centerforsocialmedia.org/...e_for_media_literacy_education

Best Practice Fair Use literacy CC copyright guide guidelines

shared by Clint Hamada on 07 Apr 10 - Cached
  • Fair use is the right to use copyrighted material without permission or payment under some circumstances—especially when the cultural or social benefits of the use are predominant.
  • This guide identifies five principles that represent the media literacy education community’s current consensus about acceptable practices for the fair use of copyrighted materials
  • This code of best practices does not tell you the limits of fair use rights.
  • ...51 more annotations...
  • Media literacy is the capacity to access, analyze, evaluate, and communicate messages in a wide variety of forms. This expanded conceptualization of literacy responds to the demands of cultural participation in the twenty-first century.
  • Media literacy education helps people of all ages to be critical thinkers, effective communicators, and active citizens.
  • Rather than transforming the media material in question, they use that content for essentially the same purposes for which it originally was intended—to instruct or to entertain.
  • four types of considerations mentioned in the law: the nature of the use, the nature of the work used, the extent of the use, and its economic effect (the so-called "four factors").
  • this guide addresses another set of issues: the transformative uses of copyright materials in media literacy education that can flourish only with a robust understanding of fair use
  • Lack of clarity reduces learning and limits the ability to use digital tools. Some educators close their classroom doors and hide what they fear is infringement; others hyper-comply with imagined rules that are far stricter than the law requires, limiting the effectiveness of their teaching and their students’ learning.
  • However, there have been no important court decisions—in fact, very few decisions of any kind—that actually interpret and apply the doctrine in an educational context.
  • But copying, quoting, and generally re-using existing cultural material can be, under some circumstances, a critically important part of generating new culture. In fact, the cultural value of copying is so well established that it is written into the social bargain at the heart of copyright law. The bargain is this: we as a society give limited property rights to creators to encourage them to produce culture; at the same time, we give other creators the chance to use that same copyrighted material, without permission or payment, in some circumstances. Without the second half of the bargain, we could all lose important new cultural work.
  • specific exemptions for teachers in Sections 110(1) and (2) of the Copyright Act (for "face-to-face" in the classroom and equivalent distance practices in distance education
  • Through its five principles, this code of best practices identifies five sets of current practices in the use of copyrighted materials in media literacy education to which the doctrine of fair use clearly applies.
  • Fair use is in wide and vigorous use today in many professional communities. For example, historians regularly quote both other historians’ writings and textual sources; filmmakers and visual artists use, reinterpret, and critique copyright material; while scholars illustrate cultural commentary with textual, visual, and musical examples.
  • Fair use is healthy and vigorous in daily broadcast television news, where references to popular films, classic TV programs, archival images, and popular songs are constant and routinely unlicensed.
  • many publications for educators reproduce the guidelines uncritically, presenting them as standards that must be adhered to in order to act lawfully.
  • Experts (often non-lawyers) give conference workshops for K–12 teachers, technology coordinators, and library or media specialists where these guidelines and similar sets of purported rules are presented with rigid, official-looking tables and charts.
  • this is an area in which educators themselves should be leaders rather than followers. Often, they can assert their own rights under fair use to make these decisions on their own, without approval.
  • ducators should share their knowledge of fair use rights with library and media specialists, technology specialists, and other school leaders to assure that their fair use rights are put into institutional practice.
  • In reviewing the history of fair use litigation, we find that judges return again and again to two key questions: • Did the unlicensed use "transform" the material taken from the copyrighted work by using it for a different purpose than that of the original, or did it just repeat the work for the same intent and value as the original? • Was the material taken appropriate in kind and amount, considering the nature of the copyrighted work and of the use?
  • When students or educators use copyrighted materials in their own creative work outside of an educational context, they can rely on fair use guidelines created by other creator groups, including documentary filmmakers and online video producers.
  • In all cases, a digital copy is the same as a hard copy in terms of fair use
  • When a user’s copy was obtained illegally or in bad faith, that fact may affect fair use analysis.
  • Otherwise, of course, where a use is fair, it is irrelevant whether the source of the content in question was a recorded over-the-air broadcast, a teacher’s personal copy of a newspaper or a DVD, or a rented or borrowed piece of media.
  • The principles are all subject to a "rule of proportionality." Educators’ and students’ fair use rights extend to the portions of copyrighted works that they need to accomplish their educational goals
  • Educators use television news, advertising, movies, still images, newspaper and magazine articles, Web sites, video games, and other copyrighted material to build critical-thinking and communication skills.
  • nder fair use, educators using the concepts and techniques of media literacy can choose illustrative material from the full range of copyrighted sources and make them available to learners, in class, in workshops, in informal mentoring and teaching settings, and on school-related Web sites.
  • Students’ use of copyrighted material should not be a substitute for creative effort
  • Where illustrative material is made available in digital formats, educators should provide reasonable protection against third-party access and downloads.
  • Teachers use copyrighted materials in the creation of lesson plans, materials, tool kits, and curricula in order to apply the principles of media literacy education and use digital technologies effectively in an educational context
  • Wherever possible, educators should provide attribution for quoted material, and of course they should use only what is necessary for the educational goal or purpose.
  • Educators using concepts and techniques of media literacy should be able to share effective examples of teaching about media and meaning with one another, including lessons and resource materials.
  • fair use applies to commercial materials as well as those produced outside the marketplace model.
  • curriculum developers should be especially careful to choose illustrations from copyrighted media that are necessary to meet the educational objectives of the lesson, using only what furthers the educational goal or purpose for which it is being made.
  • Curriculum developers should not rely on fair use when using copyrighted third-party images or texts to promote their materials
  • Students strengthen media literacy skills by creating messages and using such symbolic forms as language, images, sound, music, and digital media to express and share meaning. In learning to use video editing software and in creating remix videos, students learn how juxtaposition reshapes meaning. Students include excerpts from copyrighted material in their own creative work for many purposes, including for comment and criticism, for illustration, to stimulate public discussion, or in incidental or accidental ways
  • educators using concepts and techniques of media literacy should be free to enable learners to incorporate, modify, and re-present existing media objects in their own classroom work
  • Media production can foster and deepen awareness of the constructed nature of all media, one of the key concepts of media literacy. The basis for fair use here is embedded in good pedagogy.
  • Whenever possible, educators should provide proper attribution and model citation practices that are appropriate to the form and context of use.
  • how their use of a copyrighted work repurposes or transforms the original
  • cannot rely on fair use when their goal is simply to establish a mood or convey an emotional tone, or when they employ popular songs simply to exploit their appeal and popularity.
  • Students should be encouraged to make their own careful assessments of fair use and should be reminded that attribution, in itself, does not convert an infringing use into a fair one.
  • Students who are expected to behave responsibly as media creators and who are encouraged to reach other people outside the classroom with their work learn most deeply.
  • . In some cases, widespread distribution of students’ work (via the Internet, for example) is appropriate. If student work that incorporates, modifies, and re-presents existing media content meets the transformativeness standard, it can be distributed to wide audiences under the doctrine of fair use.
  • educators should take the opportunity to model the real-world permissions process, with explicit emphasis not only on how that process works, but also on how it affects media making.
  • educators should explore with students the distinction between material that should be licensed, material that is in the public domain or otherwise openly available, and copyrighted material that is subject to fair use.
  • ethical obligation to provide proper attribution also should be examined
  • Most "copyright education" that educators and learners have encountered has been shaped by the concerns of commercial copyright holders, whose understandable concern about large-scale copyright piracy has caused them to equate any unlicensed use of copyrighted material with stealing
  • This code of best practices, by contrast, is shaped by educators for educators and the learners they serve, with the help of legal advisors. As an important first step in reclaiming their fair use rights, educators should employ this document to inform their own practices in the classroom and beyond.
  • Many school policies are based on so-called negotiated fair use guidelines, as discussed above. In their implementation of those guidelines, systems tend to confuse a limited "safe harbor" zone of absolute security with the entire range of possibility that fair use makes available.
  • Using an appropriate excerpt from copyrighted material to illustrate a key idea in the course of teaching is likely to be a fair use, for example.
  • Indeed, the Copyright Act itself makes it clear that educational uses will often be considered fair because they add important pedagogical value to referenced media objects
  • So if work is going to be shared widely, it is good to be able to rely on transformativeness.
  • We don’t know of any lawsuit actually brought by an American media company against an educator over the use of media in the educational process.
John Evans

Curious About Design Thinking? Here's a Framework You Can Use in Any Classroom with Any... - 1 views

www.spencerideas.org/...out-design-thinking-heres.html

design thinking framework classroom group john spencer

shared by John Evans on 15 Feb 16 - No Cached
  • John Evans on 15 Feb 16
     
    "The term "design thinking" is often attached to maker spaces and STEM labs. However, design thinking is bigger than STEM. It begins with the premise of tapping into student curiosity and allowing them to create, test and re-create until they eventually ship what they made to a real audience (sometimes global but often local). Design thinking isn't a subject or a topic or a class. It's more of way of solving problems that encourages risk-taking and creativity. Design thinking is a flexible framework for getting the most out of the creative process. It is used in the arts, in engineering, in the corporate world, and in social and civic spaces. You can use it in every subject with every age group. It works when creating digital content or when building things with duct tape and cardboard."
ebrahimkhalil007

Buy Verified PayPal accounts old and new accounts - 0 views

topusamarket.com/...buy-verified-paypal-accounts

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shared by ebrahimkhalil007 on 07 Dec 23 - No Cached
  • ebrahimkhalil007 on 07 Dec 23
     
    Buy Verified PayPal accounts : In today's digital age, online businesses have become a core part of our lives. Whether you are buying products from an internet website or paying for services online, having a secure and the best payment method is crucial. For this you can buy verified PayPal accounts. 100% verified PayPal Account 15 day`s replacement guarantee.
John Evans

A Letter To Parents Of Digital Age Children - 7 views

www.teachthought.com/...arents-of-digital-age-children

letter parents digital children

shared by John Evans on 13 Feb 13 - No Cached
  • John Evans on 13 Feb 13
     
    "First, let me thank you for entrusting me with teaching your children, honoring the amazing individuals they are, and helping them discover the confident and empowered young people they can be. Providing a rich and engaging environment for your children to learn in is my utmost concern, but Iately I have had to acknowledge that the young people I see every day do much of the learning that is important to them when they leave the parking lot and head home from school. Thus, I am writing to solicit your help."
John Evans

Cubetto is a Wooden Robot That Teaches Kids How to Code | Digital Trends - 1 views

www.digitaltrends.com/...cubetto-kids-coding

robot kids how to code arduino makered

shared by John Evans on 04 May 16 - No Cached
  • John Evans on 04 May 16
     
    "The educational acronyms of the 21st century look a bit different from those of previous generations. The "Three R's" (which, confusingly enough, weren't even R's to begin with) have since largely been replaced by STEM, and parents of the newest generation are doing everything they can to better prepare their progeny for success in an increasingly digitized world. Updated on 04-07-2016 by Lulu Chang: Cubetto finishes Kickstarter campaign as the most funded ed-tech project to date. Key to that success appears to be an early start - an extremely early start - when it comes to learning important skills like computer programming and other technical talents. Here to help is Cubetto, and adorable little wooden robot that is specifically designed for pre-literate children ages 3 and older that teaches the basics of computer programming and STEM, sans screen. "
Phil Taylor

FRONTLINE: digital nation: learning: concentration | PBS - 6 views

www.pbs.org/...concentration

frontline digital_nation learning

shared by Phil Taylor on 03 Feb 10 - Cached
  • Phil Taylor on 03 Feb 10
     
    How to educate children for the digital age.
John Evans

ASCD Literacy in a Digital Age Presentation Notes - 4 views

bengrey.com/...digital-age-presentation-notes

literacy ascd education digital presentation

shared by John Evans on 30 Mar 10 - Cached
  • John Evans on 30 Mar 10
     
    ASCD session by Ben Grey and Angela Maiers.
John Evans

30 Books by Indigenous Authors to Read With Your Kids! - The Gord Downie & Chanie Wenja... - 0 views

www.downiewenjack.ca/authors-to-read-with-your-kids

books Indigenous authors digital

shared by John Evans on 25 Mar 20 - No Cached
  • John Evans on 25 Mar 20
     
    "Looking for a way to keep your kids engaged while schools are closed? Below is a list of books by Indigenous authors for children of various ages, all of which are available digitally!"
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