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John Evans

Around the Corner-MGuhlin.org: Download a la Mode: Netbooks Go Viral - 0 views

www.mguhlin.org/...la-mode-netbooks-go-viral.html

corner-mguhlin.org netbooks viral tips PD

shared by John Evans on 26 Feb 09 - Cached
  • The best option, of course, is professional development on the use of a netbook for staff and students (these are so inexpensive that I have no doubt that Parent-Teacher Organizations will want to buy them for students to use in and out of school; I've already had one request for this!). Some quick ideas:Pass out USB Flash drives with anti-malware/anti-viral free tools that can be installed. Passing out USB Flash drives with the school logo and contact information, maybe a web site address to find more tools and tips online, can be a positive way to interact with your audience. Some districts are getting custom USB drives from providers like PexagonTech.com (http://pexagontech.com) or Ram-It.com (http://tinyurl.com/cmkzum).Or, if you rather not use USB solutions, start setting your students up with digital lockers using solutions like Xythos.com, Gaggle.net, or Acma.com.Schedule a "Bring Your Netbook to School" Night and encourage safe computing.
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.
Phil Taylor

The top 10 edtech lessons I've learnt after 15 years in schools - Karl Rivers - Medium - 4 views

medium.com/...-years-in-schools-8b448f29f55c

edtech lessons schools

shared by Phil Taylor on 04 Mar 16 - No Cached
  • The answer is that Google Classroom doesn't take any effort to use.
  • It’s about people not technology
  • There’s no such thing as a digital native
  • ...5 more annotations...
  • Always read the terms and conditions
  • I’m all for teachers experimenting with new apps, but please read the Ts and Cs before sighing up your students.
  • ntirely new concepts of technology are flooding into the industry every day, and it’s impossible to keep up. The best we can do is put in place policies an procedures to allow our teachers and students to take advantage of them in a safe and secure way.
  • Forget about hardware, the Internet is the platform of the future
  • Keep your data and your devices independent. Become device agnostic. Forget hardware and operating systems and become a cross-platform service provider.
John Evans

About Us | SchoolWAX TV - 0 views

www.schoolwaxtv.com/?q=node/142

educators schools schoolwax sharing streaming technology video

shared by John Evans on 26 Sep 08 - Cached
  • John Evans on 26 Sep 08
     
    SchoolWAX TV was designed with students, teachers, and parents in mind. All uploaded videos are pre-screened and approved by our moderators before ever showing up on the site. It may take 1 to 2 days for an uploaded video to appear for that very fact, but we know that being able to guarantee 100% safe educational content makes it worth the slight delay.
John Evans

Better Teaching: Why You Bore Students & What You Can Do About It - 3 views

www.teachthought.com/...s-and-what-you-can-do-about-it

bettert teaching neuroscience RAS

shared by John Evans on 04 Feb 13 - No Cached
  • Knowing about the RAS means we can promote classroom communities where students feel safe, where they can count of the adults in charge to enforce the rules that protect their bodies, property, and feelings from classmates whom they perceive as threats to these things. Our increasing knowledge of what gains access through the RAS, once threat is reduced, offers clues to strategies that promote attentive focus to lessons in school and at home.
  • John Evans on 04 Feb 13
     
    "You don't mean to bore students. In fact, sometimes you're downright interesting-the students are engaged, the buzz in the room is palpable, and even the hesitant students are asking questions. But the fact of the matter is, even the most charismatic and experienced teachers bore students sometimes. But the good news is, it may not be your fault. Judy Willis explains the neuroscience behind it all, and offers some simply tricks to help mitigate the reality that you and your content are instinctively low on a student's neuro totem pole. "
Phil Taylor

Educational Leadership:Schools as Safe Havens:What's Wrong-and What's Right-with Rubrics - 0 views

www.ascd.org/...ight%E2%80%94with-Rubrics.aspx

leadership schools wrong right rubrics

shared by Phil Taylor on 05 Apr 12 - No Cached
  • a rubric would contain three to five evaluative criteria.
  • each evaluative criterion must represent a key attribute of the skill being assessed
doris molero

Educational Leadership:Giving Students Ownership of Learning:Footprints in the Digital Age - 0 views

www.ascd.org/...prints_in_the_Digital_Age.aspx

web2.0 socialnetworking pln willrichardson footprints richardson digitalfootprint digitalcitizenship

shared by doris molero on 27 Jan 09 - Cached
  • Picture a bus. Your students are standing in the front; most teachers (maybe even you) are in the back, hanging on to the seat straps as the bus careens down the road under the guidance of kids who have never been taught to steer and who are figuring it out as they go.
  • In short, for a host of reasons, we're failing to empower kids to use one of the most important technologies for learning that we've ever had. One of the biggest challenges educators face right now is figuring out how to help students create, navigate, and grow the powerful, individualized networks of learning that bloom on the Web and helping them do this effectively, ethically, and safely. The new literacy means being able to function in and leverage the potential of easy-to-create, collaborative, transparent online groups and networks, which represent a "tectonic shift" in the way we need to think about the world and our place in it (Shirky, 2008). This shift requires us to create engaged learners, not simply knowers, and to reconsider the roles of schools and educators.
    • doris molero
      doris molero on 21 Mar 09
       
      creating engaged learners... that's the most difficult... we need more than simply knowers... How do we do it? we have tried and keep o trying... but at he end of the day .. students are the ones that decide what to do....
  • As the geeky father
Phil Taylor

Education Week: Moving From 'Acceptable' to 'Responsible' Use in a Web 2.0 World - 2 views

www.edweek.org/...37bosco.h30.html

shared by Phil Taylor on 01 Aug 11 - No Cached
  • Developing Responsible-Use Policies:
  • best way schools can contribute to safe and appropriate use of the Internet and student owned-mobile devices is to move from the traditional AUP approach to an RUP—a “responsible-use policy” approach.
  • RUP policy/philosophy that treats the student as a person responsible for ethical and healthy use of the Internet and mobile devices.
John Evans

iCouldBe - 2 views

www.icouldbe.org/...lm_index.asp

edcuation mentoring at-risk students

shared by John Evans on 23 Jun 11 - No Cached
  • Since 2000, icouldbe.org has grown to meet the educational and career needs of more than 20,000 students, serving more than 2,300 students a year and pioneering programs around the world. We connect the energy and expertise of mentors from hundreds of professions with the most vulnerable students in our educational system – those that are most at-risk or most in need. The close relationships between mentors and mentees encourage students to stay in school and commit to working towards their career and educational goals. A pioneer in creating safe learning environments online, our curriculum points students in the direction they want to go, focusing on educational planning and career exploration, and includes modules in community service and financial literacy.
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