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John Evans

Why Play Should Be a Priority for Every Adult's Life | The Creativity Post - 1 views

www.creativitypost.com/...priority_for_every_adults_life

play adults life

shared by John Evans on 19 Apr 16 - No Cached
  • John Evans on 19 Apr 16
     
    "Play is abundant in the lives of those considered to be creative. It facilitates social bonding, boosts productivity and enhances your mood. As positive psychologist Christopher E. Peterson put it, play is "…a robust predictor of how satisfied we are with our lives." "We should consider every day lost on which we have not danced at least once." - Friedrich Nietzsche  I have two left feet, so I'm glad Nietzsche wrote metaphorically. With this quote, I think he was saying something true and profound about the importance of play-that it's an essential part of living a good and balanced life. What I hope to convey are some philosophical, scientific, and personal reasons for why we should all get serious about messing around. I hope that by reading this, you'll feel compelled to actually pencil in some time for more frivolity."
John Evans

Makerspace for Education - Home - 0 views

www.makerspaceforeducation.com

makerspace makered

shared by John Evans on 11 Apr 16 - No Cached
  • The primary goal of both constructivism and constructionism is to have learners create their own knowledge by creating and interacting with physical objects. It has clear connections to media literacy as well as to self-directed learning. Innovative researchers, and those who wish to see schools develop 21st century learners with the skills to work in today’s multidimensional career settings, know constructivism and constructionism are necessary methods.
  • “Ultimately, the outcome of maker education and educational makerspaces leads to determination, independence and creative problem solving, and an authentic preparation for the real world through simulating real-world challenges. In short, an educational makerspace is less of a classroom and more of a motivational speech without words” (Kurti et al., 2014, p. 11).
  • At the heart of this movement is the understanding that “learning happens best when learners construct their understanding through a process of constructing things to share with others” (Donaldson, 2014, p. 1). 
  • John Evans on 11 Apr 16
     
    "​The purpose of Makerspace for Education is to provide educators with a hands-on, creative, user friendly, "anytime, anyplace", professional development tool that can be used as part of a community of practice. It allows educators to inform themselves, with tools at their fingertips, on the various aspects of the makerspace as they are ready. Using interactive tools that allow access to necessary information, directly from a user-friendly interface and based on the key frameworks of constructionism and constructivism, makerspace, design thinking and media literacies, teachers will have the tools they need to begin, or continue, their makerspace journeys. This site will evolve and grow as the participating educators add to the content and support the construction of knowledge. "
John Evans

How to Incubate Creativity in School Through Making and Discovery | MindShift | KQED News - 0 views

ww2.kqed.org/...l-through-making-and-discovery

creativity making discovery makered

shared by John Evans on 18 Sep 15 - No Cached
  • John Evans on 18 Sep 15
     
    "Math teacher Laura Kretschmar gave students a rubric with specific goals around collaboration, communication and instructions to use various functions in the program, but not a lot else. She's intentionally giving them a lot of freedom to play with the program, create cool designs and figure out what the functions do. "I think "y" means, like, going up," says Juritzy Maldonado. "So to pull it up, I'm going to try to change the number." She punches in 200 for "y" and watches the image she's creating shift upward. Another group discovers that if they hit "repeat" multiple times, they can create a parachute-like design that they've figured out how to color in various ways. That wasn't their original plan, but they're running with it now."
John Evans

Using iPad in Maths, Part 1 - Creativity and higher order thinking skills - - 2 views

ideferrers.com/ivity-and-student-explanations

using ipad maths creativity higher order thinking skills

shared by John Evans on 23 Feb 15 - No Cached
  • John Evans on 23 Feb 15
     
    "The following example is a piece of work about simplifying algebraic fractions that illustrates the value of student explanations. The task was to make a video explaining how to simplify the three fractions below, complete with full explanations. No training was given on how to do this, and no apps were recommended. This was my first attempt at asking this particular group of students to create a video. It follows that after years of simply writing down answers and them either being right or wrong, several students decided to assume that I was joking with this task and simply handed me in a copy of the answers. Job done. Or was it Wolfram Alpha's job done? Anyway, here is what a few responses to the task looked like"
John Evans

Past the Edge of the Comfort Zone | krissy venosdale - 2 views

krissyvenosdale.com/t-the-edge-of-the-comfort-zone

revolution creativity KrissyVenosdale

shared by John Evans on 30 Jun 17 - No Cached
  • John Evans on 30 Jun 17
     
    "We need a revolution.  We are the revolution. Creativity for all.   Deep learning and thinking. Human Connection. Community.  The right kind of school for every single learner, big or small.  The kind where each and every teacher is valued as a learner and a human being, just as we must value and honor the needs of each and every student."
John Evans

Moving at the Speed of Creativity - Improving Reading, Writing and Critical Thinking Sk... - 17 views

www.speedofcreativity.org/...nking-skills-with-media-k20ili

media writing reading critical thinking

shared by John Evans on 13 Nov 11 - No Cached
  • John Evans on 13 Nov 11
     
    "Improving Reading, Writing and Critical Thinking Skills with Media"
John Evans

Moving at the Speed of Creativity | Developing Computational Thinking with Scratch Codi... - 2 views

www.speedofcreativity.org/...h-scratch-coding-webinar-video

computational thinking scratch coding webinar video Wes Fryer @wfryer

shared by John Evans on 03 Dec 17 - No Cached
  • John Evans on 03 Dec 17
     
    "Last night I had an opportunity to present a free, evening webinar for the Oklahoma State Department of Education's Educational Technology Division, as part of a series they hosted to prepare teachers for Computer Science Education Week. The title of my presentation was, "Developing Computational Thinking with Scratch Coding." The webinar recording is 1 hour and 11 minutes long, and my presentation slides are also available via Google Slides. All these presentation resources are available on my presentation handouts website using the shortened URL wfryer.me/scratch."
John Evans

5 Ways Design Thinking Can Empower Your Students - A.J. JULIANI - 2 views

ajjuliani.com/king-can-empower-your-students

ways design thinking students

shared by John Evans on 11 May 16 - No Cached
  • John Evans on 11 May 16
     
    "When I talk to teachers around the country (and around the world) I hear this same story. Students are sometimes hesitant to take on creative work inside of the classroom."
John Evans

ASCD Express 9.09 - The Art of Thinking Like a Scientist - 3 views

www.ascd.org/...909-yokana.aspx

ascd express arts science

shared by John Evans on 12 Feb 14 - No Cached
  • John Evans on 12 Feb 14
     
    "Through the arts, students learn to observe, visualize, manipulate materials, and develop the creative confidence to imagine new possibilities. These skills and competencies are also essential to scientific thinking and provide a strong argument for transforming STEM education by integrating the arts"
John Evans

I was thinking… - Learning to be me. - 0 views

www.iwasthinking.ca/...its-not-about-the-technology

education learning pedagogy teaching technology

shared by John Evans on 10 Oct 08 - Cached
  • John Evans on 10 Oct 08
     
    Really, it's not about the technology, is it? It's about good pedagogy, good teaching practices, engaging students, making them think, giving them opportunity to be creative and work in teams and talk and learn…
John Evans

National curriculum in England: computing programmes of study - GOV.UK - 0 views

www.gov.uk/...-computing-programmes-of-study

computational thinking computing coding digital literacy

shared by John Evans on 13 Nov 17 - No Cached
  • John Evans on 13 Nov 17
     
    "A high-quality computing education equips pupils to use computational thinking and creativity to understand and change the world. Computing has deep links with mathematics, science and design and technology, and provides insights into both natural and artificial systems. The core of computing is computer science, in which pupils are taught the principles of information and computation, how digital systems work and how to put this knowledge to use through programming. Building on this knowledge and understanding, pupils are equipped to use information technology to create programs, systems and a range of content. Computing also ensures that pupils become digitally literate - able to use, and express themselves and develop their ideas through, information and communication technology - at a level suitable for the future workplace and as active participants in a digital world."
John Evans

Using Design Principles to Build a Culture of Innovation | Edutopia - 3 views

www.edutopia.org/...iples-build-culture-innovation

Edutopia design thinking design principles innovation

shared by John Evans on 25 Oct 17 - No Cached
  • John Evans on 25 Oct 17
     
    "With two design thinking practices, you can make small, iterative changes to foster a creative culture in your school or classroom. "
John Evans

Video: "The Future Will Not be Multiple Choice" | MindShift - 1 views

blogs.kqed.org/...re-will-not-be-multiple-choice

education Tedx future NOT multiple choice

shared by John Evans on 05 Feb 13 - No Cached
  • McGrath and Davies argue that school needs to keep up with the times by promoting creativity, entrepreneurship, design thinking and hands on skills
  • John Evans on 07 Feb 13
     
    "Educator Jaime McGrath and designer Drew Davies explain how to create a "classroom of imagination" by turning lessons into design problems and giving students space to be creative in this Tedx video. "
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

It's not an assignment, it's a creative brief - Teach42 - 0 views

www.teach42.com/...ssignment-its-a-creative-brief

teach42 assignments technology learning

shared by John Evans on 23 May 09 - Cached
  • hey were describing how technology can be seemless in the classroom, not something you teach, but something that just… is. And one thing that they mentioned (I think it was Ben), was that he doesn’t feel like he gives assignments anymore, he gives creative briefs.
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