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glen gatin

ICT for Teachers - 126 views

Glen I am a teacher in Manitoba, using ICT as much as possible. Just wondering if the ICT for teachers course will be offered again. glen gatin wrote: > Hi John and group. I was pleased to stu...

John Evans

Coding and Bots | User Generated Education - 0 views

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    "I have been asked to return to teach summer enrichment classes on maker education for elementary-aged learners at a local school during the summer of 2016. One of the new classes I am designing is called Coding and Bots. The description is: Learn how to code first by playing games and then by coding some bots including Sphero, OZOBOT, and Dash and Dot. All ages are welcome but the child should have basic symbol recognition/reading skills. Two things to note about this class are, first, I learned last summer not to underestimate the learning potential of very young kids. These classes are mixed ages ranging from 4 to 10 year old kids. For most of the maker education activities, the very young ones could perform them, sometimes better than the older kids. Second, I am a strong proponent of hands on activities. Although I like the use of iPads and computers, I want elementary aged students to have to directly interact with materials. As such, I am designing Coding and Bots to include using their bodies and manipulating objects. This translates into having all activities include the use of objects and materials excluding and in conjunction with the iPad - not just using the iPad and online apps/tools to learn to code. The activities I plan to do follow:"
John Evans

9 Maker Projects for Beginner Maker Ed Teachers | Teach.com - 0 views

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    "Maker education (often referred to as "Maker Ed") is a new school of educational thought that focuses on delivering constructivist, project-based learning curriculum and instructional units to students. Maker education spaces can be as large as full high school workshops with high-tech tools, or as small and low-tech as one corner of an elementary classroom. A makerspace isn't just about the tools and equipment, but the sort of learning experience the space provides to students who are making projects. Maker Ed places a premium on the balance between exploration and execution. Small projects lend themselves to indefinite tinkering and fiddling, while larger projects need complex, coordinated planning. Often, small projects can organically grow into larger and larger projects. This deliberate process strengthens and enriches a learner's executive functioning skills. Additionally, communication and collaboration are two of Maker Ed's fundamental values. Making allows learners to practice their social communication skills in a variety of groupings, whether affinity-based, role-specific or teacher-assigned. It's important for all different groups to be present in student learning spaces so that all students can practice their social skills in multiple settings. Lastly, Making presents unique opportunities to generate flow learning and allow the teacher to leverage high-interest projects and activities and turn them into learning objectives within a curriculum. Maker education provides space for real-life collaboration, integration across multiple disciplines, and iteration-the opportunity to fail, rework a project and find success. The benefits of a cooperative learning environment are well documented in a makerspace. If you are wondering how to connect these projects back to the Common Core Standards, check out PBL Through a Maker's Lens and Woodshop Cowboy."
John Evans

Alice.org - 0 views

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    Alice is an innovative 3D programming environment that makes it easy to create an animation for telling a story, playing an interactive game, or a video to share on the web. Alice is a freely available teaching tool designed to be a student's first exposure to object-oriented programming. It allows students to learn fundamental programming concepts in the context of creating animated movies and simple video games. In Alice, 3-D objects (e.g., people, animals, and vehicles) populate a virtual world and students create a program to animate the objects
John Evans

What the Heck Is Inquiry-Based Learning? | Edutopia - 1 views

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    "Inquiry-based learning is more than asking a student what he or she wants to know. It's about triggering curiosity. And activating a student's curiosity is, I would argue, a far more important and complex goal than the objective of mere information delivery. Nevertheless, despite its complexity, inquiry-based learning can be somehow easier on teachers, too. True, it's seemingly easier because it transfers some responsibilities from teachers to students, but it's really easier because releasing authority engages students. Teachers who use inquiry-based learning combat the "dunno" -- a chronic problem in student engagement.  Let's face it, when you ask a student something like, "What do you want to know about _______?" you are often met with a shrug, or a, "dunno." Inquiry-based learning, if front-loaded well, generates such excitement in students that neurons begin to fire, curiosity is triggered, and students can't wait to become experts in answering their own questions."
John Evans

A Comprehensive Checklist of The 21st Century Learning and Work Skills ~ Educational Te... - 3 views

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    "July 16, 2014 While searching for some resources on a paper and writing on  the 21st century learning skills I came across this skills checklist created by the university of Toledo. This checklist is meant to help students build powerful resumes outlining all the skills they master. I spent some time going through the components of this sheet and found it really sharing with you here.  You can use this sheet with your students as an explanatory guide of some of the important skills ( I said some because some other important skills particularly those related to digital citizenship and digital literacy are missing) they need to work. Below is a round-up of the 9 most important skills which I selected from the entire list. You can acccess this list from this link. 1- Research skills Know how to find and collect relevant background information Be able to analyze data, summarize findings and write a report 2- Critical Thinking skills Be able to review different points of view or ideas and make objective judgments Investigate all the possible solutions to a problem, weighing the pros and cons 3- Organizational skills Be able to organize information, people or thins in a systematic way Be able to establish priorities and meet deadlines 4- Problem-solving skills Be able to clarify the nature of a problem Be able to evaluate alternatives, propose viable solutions and determine the outcome of the various options 5- Creative thinking skills Be able to generate new ideas, invent new things, create new images or designs Find new solutions to problems Be able to use wit and humour effectively 6- Analytical/ logical thinking skills Be able to draw specific conclusions from a set of general observations of from a set of specific facts Be able to synthesize information and ideas 7- Public speaking skills Be able to make formal presentations Present ideas, positions and problems in an interesting way 8- Oral communication skills Be able to present information and ideas clearly a
John Evans

Sample Student Learning Objectives For Hour Of Code - 1 views

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    "You keep hearing about this hour of code thing, but you're not a "hacker," and aren't real comfortable with teaching what you don't know. Especially when it relates to technology and its fundamental programming. You know this is some kind of "coding week." You've seen our tips for integrating coding into the classroom. Now what to do? Turn students loose with Scratch or Codea or Kahn Academy? Well, maybe. Self-Directed Learning is a core learning fluency in an age of access."
John Evans

Java Tutorial | SoloLearn: Learn to code for FREE! - 0 views

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    "SoloLearn's Learn Java is a comprehensive guide to one of the most popular programming languages in the world. And here's a big bonus: Learn Java is FREE! The Learn Java lessons are fast, easy, and effective; the app is set up so that you can complete the work in less than three hours. No prior programming experience is needed. Once you have completed the course, you will have learned object-oriented Java programming and have the ability to write clear and valid code in almost no time at all."
John Evans

Evaluating Project-Based Learning | Edutopia - 1 views

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    "Last year I took a group of students to Cuba to produce documentaries about the island nation's culture and history. The main objective was learning how to produce documentaries, but one of my students learned a much more powerful lesson through the process. After completing her project, she posted it publicly to YouTube and received critical comments from someone living in Cuba. The feedback from an audience member in another country profoundly affected her, making her aware of what she was missing in her piece, and the impact that her work can have on others. No test, grade, or teacher evaluation could have come close to helping her learn that deeply, and it made clear to me how important it is for teachers to reexamine why and how we grade our students if we truly care about their success."
John Evans

How Minecraft and Duct Tape Wallets Prepare Our Kids for Jobs That Don't Exist Yet | Ed... - 0 views

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    "My objective with this wide-ranging set of skills, and involving the community so closely in their development, is to give kids the chance to practice whatever makes them passionate now and feel encouraged -- even if they're obsessed with making stuff exclusively with duct tape. It's crucial that kids learn how to be passionate for the rest of their lives. To start, they must first learn what it feels like to be simultaneously challenged and confident. It's my instinct that we should not try to introduce these experiences through skills we value as much as look for opportunities to develop them, as well as creativity and literacy, in the skills they already love. MAGICIANS CRAFT ILLUSIONS THAT BAFFLE THE SENSES AND CONFUSE OUR REASONING. THEY PLAN LIKE SCIENTISTS, BUT PERFORM AS ARTISTS. ONLY THROUGH LONG AND DISCIPLINED PREPARATION DO THEY SUCCEED. It's difficult to predict which skills will be valuable in the future, and even more challenging to see the connection between our children's interests and these skills. Nothing illustrates this better than Minecraft, a popular game that might be best described as virtual LEGOs. Calling it a game belies the transformation it has sparked: An entire generation is learning how to create 3D models using a computer. Now, I wonder, what sort of businesses, communication, entertainment or art will be possible? Cathy Davidson, a scholar of learning technology, concluded that 65% of children entering grade school this year will end up working in careers that haven't even been invented yet. I bet today's kids will eventually explore outcomes and create jobs only made possible by the influence of Minecraft in their lives. Why take any chances and build your dream house with blueprints alone? The Minecraft kid could easily make a realistic 3D model of one for you to walk through before you build. That's why DIY treats Minecraft as a tool, not a game, and encourages our members to use it to pursue art, architect
John Evans

Learning with 'e's: Learning, making and powerful ideas - 1 views

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    "This is number 31 in my series on learning theories. I'm working through the alphabet of psychologists and theorists, providing a brief overview of each theory, and how it can be applied in education. Previous posts in this series are all linked below. My last post explored Donald Norman's ideas around perception and the design of every day objects. In this post, the work of Seymour Papert will feature, especially his work on learning through making, also known as constructionism."
Clint Hamada

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

  • 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.
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  • 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

Using Creativity to Boost Young Children's Mathematical Thinking | MindShift | KQED News - 0 views

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    "The students in Molly James's kindergarten classroom were tasked with creating a mathematical art gallery. They had each drawn a number and then searched for two types objects they could use to compose a visual number sentence - such as two rulers plus three scissors to equal five objects. After photographing and mounting their pictures on the wall in numerical order, the students sat on the floor with their sketchbooks and began to draw and talk. "I had expected them to learn something about number composition," James said, "but I didn't expect the remarkable observations they began to have about the photographs." For example, when one girl looked at a picture of two red scissors and three blue scissors (2+3=5), she noticed that the direction of the handles gave rise to a new number sentence: 4 scissors pointing left + 1 scissor pointing right = 5 scissors. James, who recently published a paper about creativity in the classroom, said moments like these remind her that "creativity is not fluff or an add-on, but is instead an essential part of what it means to be a mathematician."  In fact, she believes creativity is the key to helping her students become confident and skilled mathematical thinkers."
John Evans

2018 AutoCAD Tutorial - 6 Easy Steps for Beginners | All3DP - 2 views

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    "In this AutoCAD tutorial, you are going to learn the basics of how to use AutoCAD and create your first objects. AutoCAD is a powerful tool to create 2D and 3D objects, like architectural floorplans and constructions or engineering projects. It also can generate files for 3D printing. If you want to start this AutoCAD tutorial for beginners, you should be able to spare roughly one hour for it."
John Evans

Coding: Is it a necessity in the classroom? - Innovate My School - 1 views

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    "For the last two years, everyone's been talking about learning to code. From Google chairman Eric Schmidt, to will.i.am and Barack Obama. But what is coding and why is it important for our kids to learn to do it? Coding, also known as programming, is giving a computer instructions to follow in a language that it understands. It can be as simple as programming a short sequence of instructions into a robot to make it move, or as complex as creating an app using a language called Objective-C. Political leaders and technologists believe it is important for the current generation to learn to code, so that in the future we have people with the necessary skills to create the new technologies we will need. This is going to be great for our economy in the future, but there is much more to it than this: it's also empowering, creative, social and great for developing problem solving skills."
John Evans

Why Does Sitting Still Equal Learning? | Rae Pica - 2 views

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    "Whether we're talking about preschool, elementary through secondary school, college, or even adult learners, I have serious objections to the idea that learning supposedly only comes via the eyes, the ears, and the seat of the pants. Schools -- and policymakers -- have for too long accepted the belief that learning best occurs while students are seated (and quiet, of course). The theory may have been understandable back when they didn't have the research to prove otherwise. But today we do."
John Evans

Learning with 'e's - Maker Pedagogy - 6 views

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    " More and more teachers are beginning to realise that creating environments and possibilities where students make things is a very powerful pedagogy. Students learn a number of skills and draw on a variety of subjects when they design and create objects. Teaching takes a back seat and product based education is sidelined in favour of process based learning. "
John Evans

What We Learn from Making | Harvard Graduate School of Education - 2 views

  • Empowerment is a key goal of maker-centered learning — helping young people feel that they can build and shape their worlds. That sense of “maker empowerment” arises when students learn to notice and engage with their physical and conceptual environments, the report states. To encourage that heightened sensitivity, educators should provide opportunities for students to: look closely and reflect on the design of objects and systems; explore the complexity of design; and understand themselves as designers of their worlds.
  • But as a new report from Project Zero’s Agency by Design concludes, the real value of maker education has more to do with building character than with building the next industrial revolution.  
  • In a white paper [PDF] marking the end of its second year, Agency by Design (AbD) finds that among the benefits that may accrue along the maker ed path, the most striking is the sense of inspiration that students take away — a budding understanding of themselves as actors in their community, empowered “to engage with and shape the designed dimensions of their worlds.”
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    "What are the real benefits of a maker-centered approach to learning? It's often described as a way to incubate STEM skills or drive technical innovation - and it is probably both of these. But as a new report from Project Zero's Agency by Design concludes, the real value of maker education has more to do with building character than with building the next industrial revolution.  "
John Evans

Teacher Apps for Creating Time-lapse and Slow Motion Videos ~ Educational Technology an... - 3 views

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    "We have handpicked for you today a list of some very good iPad apps that you can use with your students to create time-lapse and slow motion videos. Time-lapse is a cinematographic technique that involves compressing several photos (or frames) into a high speed video. This technique is usually used to photograph slow-changing scenes or objects (e.g cloudscapes, plans growing, crowds…etc). Stop motion is "an animation technique which makes a physically manipulated object look like it's moving on its own". "
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