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John Evans

What does "making" have to do with learning? | Sylvia Libow Martinez - 3 views

sylviamartinez.com/aking-have-to-do-with-learning

making learning makered makerspaces

shared by John Evans on 03 May 16 - No Cached
  • Making is not just the simple act of you being the difference between raw materials and finished product, as in “I made dinner” or even “I made a robot.” I don’t think we always need to ascribe learning to the act of making — but the act of making allows the maker, and maybe an outsider (a teacher, perhaps) to have a window into the thinking of the maker.
  • John Evans on 03 May 16
     
    "One of the biggest issues I have with many descriptions of "making" in education is that it's about students just being creative with tools or materials.  I strongly disagree. Making is not just the simple act of you being the difference between raw materials and finished product, as in "I made dinner" or even "I made a robot." I don't think we always need to ascribe learning to the act of making - but the act of making allows the maker, and maybe an outsider (a teacher, perhaps) to have a window into the thinking of the maker."
John Evans

What to do about teens and their dumb naked photos of themselves. - By Dahlia Lithwick ... - 0 views

www.slate.com/2211169

cellphones article texting sexting information SLATE teens cellphone cell_phone school schools responsibility principal discipline

shared by John Evans on 04 Mar 09 - Cached
  • Sexting is the clever new name for the act of sending, receiving, or forwarding naked photos via your cell phone.
  • Sexting is the clever new name for the act of sending, receiving, or forwarding naked photos via your cell phone.
  • Sexting is the clever new name for the act of sending, receiving, or forwarding naked photos via your cell phone.
  • ...5 more annotations...
  • Sexting is the clever new name for the act of sending, receiving, or forwarding naked photos via your cell phone.
  • Sexting is the clever new name for the act of sending, receiving, or forwarding naked photos via your cell phone.
  • Sexting is the clever new name for the act of sending, receiving, or forwarding naked photos via your cell phone.
  • Sexting is the clever new name for the act of sending, receiving, or forwarding naked photos via your cell phone.
  • Greensburg, Pa., were charged with disseminating child pornography for sexting their boyfriends. The boys who received the images were charged with possession. A teenager in Indiana faces fe
John Evans

Every Classroom Should be a Makerspace - UnBoxed: Issue 14 - 2 views

www.hightechhigh.org/...ssroom_should_be_a_maker_space

classroom makerspace innovation makered

shared by John Evans on 21 Jun 16 - No Cached
  • John Evans on 21 Jun 16
     
    "Ten years ago, I walked past a newsstand and out of the myriad of multicolored covers, one jumped out at me: MAKE magazine. As someone who grew up making stuff, this magazine spoke directly to me. I bought copies and immediately brought them to the director of my school. I remember triumphantly exclaiming "We should show this to all of the teachers-think of the projects we can do!" A decade later, well-intentioned schools that create dedicated "maker spaces" worry me. For the uninitiated, a maker space often houses ultramodern tools like a laser cutter or 3D printers, mixed with drill presses, table saws, and soldering irons, or perhaps screen printing equipment or sewing machines. My fear is that stand-alone maker spaces will cause the powerful act of creation to be confined to only certain parts of the school building. I worry that yesterday's centralized computer lab-which we rightly democratized and decentralized by putting computers in every classroom-is today's maker space. When I walk past a new room being outfitted with a laser cutter or a drill press and hear, "This is our maker space!" I am tempted to ask: "What happens in all of the other spaces? What do people do there?" The act of creation is transformative. An individual's self-image is forever changed when he or she can hold up a real object-a real contribution to the world-and say, "I made this." In a time when students' lives are increasingly virtual, abstract and vicarious experiences, it is every teacher's job to make learning, and life, "hands-on." "
John Evans

24 ways to jump start group creativity - Think Jar Collective - 2 views

thinkjarcollective.com/...jump-start-group-creativity

ways start group creativity think jar collective

shared by John Evans on 11 Jun 15 - No Cached
  • John Evans on 11 Jun 15
     
    "Simply put, the key to increasing creativity in any organization is to make it start acting like a creative organization. Suppose you wanted to be an artist: You would begin behaving like an artist by painting every day. You may not become another Vincent Van Gogh, but you'll become much more of an artist than someone who has never tried. Similarly, you and your organization will become more creative if you start going through the motions and acting the part. The following are 24 suggestions to encourage you and your colleagues to jump start creativity in your group."
John Evans

Sir Ken Robinson's Next Act: You Are the System and You Can Change Education | EdSurge ... - 1 views

www.edsurge.com/...m-and-you-can-change-education

education change parents Sir Ken Robinson

shared by John Evans on 26 Mar 18 - No Cached
  • John Evans on 26 Mar 18
     
    Sir Ken Robinson's views on creativity are abundantly well documented. In his 2006 TED Talk-still the most-watched of all time-he claimed that "we are educating people out of their creative capacities" and charged the current education system with being too rigid in adhering to traditional academic subjects. Kids, he argued, need time to dance, draw, create and find what they're good at. But he hasn't given up on schools or education-far from it, in fact. For his follow-up act, Robinson is releasing a new book for parents on how to raise capable children who thrive in school. Make no mistake, though, he's still shaking up the system (and redefining what that actually means).
John Evans

Random Acts of Kindness In School | Edutopia - 0 views

www.edutopia.org/...age-kindness-students-all-ages

random acts kindness Edutopia

shared by John Evans on 10 Feb 20 - No Cached
  • John Evans on 10 Feb 20
     
    "With Random Acts of Kindness Day approaching, here are five easy ways to promote kindness across all age groups.  "
John Evans

Middle School Maker Journey: The Making of a Mantra | Edutopia - 1 views

www.edutopia.org/...think-design-act-kevin-jarrett

middle school maker journey @edutopia makerspace makered

shared by John Evans on 15 Mar 16 - No Cached
  • John Evans on 15 Mar 16
     
    "Care. Think. Design. Act. These words are the first thing that people see when entering Digital Shop, our middle school makerspace. This mantra anchors the threshold experience, a visitor's first visual impression of the space. But what do the words really mean, individually and collectively? Why those words, in that order? And how do they resonate with our learners and with my colleagues in regard to their impressions of the program?"
John Evans

Information Curation - Home - 3 views

informationcuration.wikispaces.com/Home

information curation workshop RTW2012 joevans1

shared by John Evans on 11 May 12 - No Cached
  • Curation, is defined by Wiktionaryas the act of curating, of organizing and maintaining a collection of artworks or artifacts. EContentmag.com describes content curation as the act of discovering, gathering, and presenting digital content that surrounds specific subject matter.
John Evans

Launching Professional Learning Communities: Beginning Actions: Introduction - 1 views

www.sedl.org/...issues81

communities launching learning PLC

shared by John Evans on 27 Jan 09 - Cached
  • A Professional Learning Community (PLC) is defined as a school in which the professionals (administrators and teachers) continuously seek and share learning to increase their effectiveness for students, and act on what they learn (Hord, 1997). Hord adds that schools organized as PLCs are characterized by five dimensions: shared and supportive leadership, shared values and vision, collective learning and application of learning, supportive conditions, and shared personal practice. Hord asserts that by nurturing and developing each of these five dimensions, a school staff can evolve into a learning community.
  • John Evans on 27 Jan 09
     
    A Professional Learning Community (PLC) is defined as a school in which the professionals (administrators and teachers) continuously seek and share learning to increase their effectiveness for students, and act on what they learn (Hord, 1997). Hord adds that schools organized as PLCs are characterized by five dimensions: shared and supportive leadership, shared values and vision, collective learning and application of learning, supportive conditions, and shared personal practice. Hord asserts that by nurturing and developing each of these five dimensions, a school staff can evolve into a learning community.
John Evans

Centre4 - Home - - 0 views

centre4.core-ed.net/...space.php

centre4 NZ PD online professionaldevelopment

shared by John Evans on 28 Oct 08 - Cached
  • CORE Education is a not for profit educational research, development and implementation organisation in New Zealand. CORE aims to provide educators with the quality professional learning opportunity in an online context. Centre4 acts as the portal to this e-learning world and you are welcome to explore it in the areas that interest you. While many communities are open to the wider public, some areas have restricted access for project participants. Their purposes are indicated below.
  • John Evans on 28 Oct 08
     
    CORE Education is a not for profit educational research, development and implementation organisation in New Zealand. CORE aims to provide educators with the quality professional learning opportunity in an online context. Centre4 acts as the portal to this e-learning world and you are welcome to explore it in the areas that interest you. While many communities are open to the wider public, some areas have restricted access for project participants. Their purposes are indicated below.
John Evans

THIRST - 0 views

www.slideshare.net/...thirst

thirst slideshare presentation water science health MY SY

shared by John Evans on 09 Feb 09 - Cached
  • This is an educational presentation exploring humanity's water use and the emerging worldwide water shortage. It is designed to act as a stand-alone presentation.
  • John Evans on 09 Feb 09
     
    This is an educational presentation exploring humanity's water use and the emerging worldwide water shortage. It is designed to act as a stand-alone presentation.
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

Home Page - Taking Center Stage - Act II (TCSII) (CA Dept of Education) - 0 views

pubs.cde.ca.gov/tcsii

MY resources ideas teaching literacy

shared by John Evans on 18 Sep 09 - Cached
  • John Evans on 18 Sep 09
     
    Taking Center Stage-Act II (TCSII): Ensuring Success and Closing the Achievement Gap for All of California's Middle Grades Students promotes, illustrates, and supports the concepts embedded in the California Department of Education's (CDE) 12 Recommendations for Middle Grades Success. Created specifically for middle grades educators, the Web portal delivers developmentally responsive and research-based practices through videos, professional learning activities, and best practice vignettes focused on the young adolescent.
John Evans

TeachThought's Most Popular Posts On iPad Integration | TeachThought - 3 views

www.teachthought.com/...ular-posts-on-ipad-integration

ipad integration

shared by John Evans on 07 Oct 12 - No Cached
  • John Evans on 07 Oct 12
     
    "TeachThought is officially ten weeks old (yay us!), and to celebrate that incredible milestone (which is also the same as the gestation period of the North American Box Turtle), we're putting together posts that reflect back on that time, while also acting as a kind of curation tool for some of the content you have found most helpful."
John Evans

iPads in Primary Education: Explain Everything: Developing drama, role play and communi... - 0 views

mrandrewsonline.blogspot.ca/...erything-developing-drama.html

ipads primary education EY drama role play communication

shared by John Evans on 22 Apr 13 - No Cached
  • John Evans on 22 Apr 13
     
    "The iPad app "Explain Everything" is an extremely versatile and flexible tool and has so many applications in the classroom. It is a screencasting app which allows narrated recordings of the iPad screen to be exported and shared as videos. The potential for this is huge. This example describes how the app has been used in an Early Years Foundation Setting to allow children to retell and act out traditional stories."
John Evans

Evernote Blog | The New Skitch for Mac and iOS: The Fastest, Friendliest Way to Give Fe... - 0 views

blog.evernote.com/...t-way-to-give-feedback-on-pdfs

ipad skitch evernote PDF annotation

shared by John Evans on 19 Apr 13 - No Cached
  • John Evans on 19 Apr 13
     
    "Clear, concise communication is powerful. With a little clarity, we can eliminate those long, roundabout email exchanges that keep projects in perpetual limbo. That's what Skitch is for, and today we're bringing this vision to your PDF workflow to help you give the fastest, friendliest and most direct feedback ever. Not only that, but we've also added an innovative summary that ensures your recipients are able to act upon your feedback immediately. Let's dive into the new PDF features, as well as some exciting new tools."
John Evans

Comprehensive Middle School Curriculum Practice App - iTooch Middle School - iGameMom - 0 views

igamemom.com/...ctice-app-itooch-middle-school

comprehensive middle school curriculum practice app math ELA

shared by John Evans on 15 Feb 13 - No Cached
  • John Evans on 15 Feb 13
     
    "A while ago I reviewed iTooch Elementary School app by EduPad. I was very excited to see such a comprehensive app matching school curriculum. Today I am sharing iTooch Middle School. Similar to iTooch Elementary School, this is a very comprehensive learning app for Grades 6 to 8. For each grade, there are Math and Language Art, plus Health for Grade 6. The iTooch Middle School App serves as a shell app, hosting the 7 titles. It is helpful to know that each of the 7 titles can act as an app by itself without the shell app. "
John Evans

Apps in Education: 10 Apps for Documenting Learning - 0 views

appsineducation.blogspot.ca/...-for-documenting-learning.html

apps education learning documenting

shared by John Evans on 03 Oct 12 - No Cached
  • John Evans on 03 Oct 12
     
    "One of the things that really excites me about the iPad is the ability of the students to show their learning. I am not talking about the end product here, I am talking about the act of learning that can be shown by students recording their processes."
John Evans

CMEC - 1 views

copyrightdecisiontool.ca/...Background

teacher copyright CMEC decision tool

shared by John Evans on 25 Oct 16 - No Cached
  • John Evans on 25 Oct 16
     
    " This Copyright Decision Tool was developed by the Copyright Consortium of the Council of Ministers of Education, Canada (CMEC) . The CMEC Copyright Consortium is composed of the ministers of education of the provinces and territories, with the exception of Quebec. (For further background on copyright and education, you can visit the CMEC Web pages on copyright. ) This Copyright Decision Tool is a supplement to the Fair Dealing Guidelines , created to help teachers determine whether their use of a copyright-protected work is fair dealing. The tool helps teachers assess whether fair dealing permits them to use a copyright-protected work for students without permission or payment of copyright royalties. Fair dealing is only one of several users' rights provided to educational users in the Copyright Act. For a description of other educational users' rights, see Copyright Matters! Every school board or school district should have a staff member who is familiar with copyright law. For more information, contact the ministry or department of Education Copyright Officer for your province or territory, listed here. CMEC wishes to acknowledge that the Copyright Decision Tool is liberally adapted, with permission, from the University of Ottawa's Fair Dealing Decision Tree ."
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