Skip to main content

Home/ Literacy with ICT/ Group items tagged artist

Rss Feed Group items tagged

Filter: All | Bookmarks | Topics Simple Middle
John Evans

Maker Movement Reinvents Education - 4 views

www.newsweek.com/...einvents-education-268739.html

education maker movement maker movement

shared by John Evans on 28 May 15 - No Cached
  • THE MAKER MOVEMENT is a global community of inventors, designers, engineers, artists, programmers, hackers, tinkerers, craftsmen and DIY’ers—the kind of people who share a quality that Rosenstock says “leads to learning [and]…to innovation,” a perennial curiosity “about how they could do it better the next time.” The design cycle is all about reiteration, trying something again and again until it works, and then, once it works, making it better. As manufacturing tools continue to become better, cheaper and more accessible, the Maker Movement is gaining momentum at an unprecedented rate. Over the past few years, so-called “makerspaces” have cropped up in cities and small towns worldwide—often in affiliation with libraries, museums and other community centers, as well as in public and independent schools—giving more people of all ages access to mentorship, programs and tools like 3-D printers and scanners, laser cutters, microcontrollers and design software
John Evans

SINGing the Praises of NING by Dawn Danker » Moving at the Speed of Creativity - 0 views

www.speedofcreativity.org/...praises-of-ning-by-dawn-danker

Ning socialnetworking

shared by John Evans on 11 Feb 09 - Cached
  • If you have a Ning website used by teachers and students in school environments, you can ask to have the ads taken off your Ning site - you can pay to have ads removed from your Ning site, then, in about 24 hours
  • 35 teachers in Wellston, Oklahoma Oklahoma City: 79 different campuses - regardless of size, we need to be collaborating
  • discussion in groups about the value of collaboration just within your school - someone talking about collaboration within media specialists within Oklahoma City Public Schools - it is almost impossible to get everyone together at the same time, in the same place
  • ...2 more annotations...
  • - Scott McLeod said at K-20 Midwinter “Our kids have tasted the honey”
    • John Evans
      John Evans on 12 Feb 09
       
      So have many of our teachers who are fortunate enough to be able to apply web.20 applications in their classrooms and schools!
  • “If you are not prepared to be wrong — you will not come up with anything original. People are being educated out of their creative capacity. We do not grow into creativity, we grow out of it. As far as education for children, we need to educate their whole being. Picasso said “All children are born artists.” - Sir Ken Robinson
John Evans

Digital Booktalk - 0 views

digitalbooktalk.com/indexpress.php

ELA bookreports booktalk MY SY EY

shared by John Evans on 17 Mar 09 - Cached
  • How do you select books to read? Do you use the jacket cover? Word of mouth? Reading lists? Which comes first, reading a book or watching a movie made from it? We believe it does not have to be an 'either-or' choice. Similar to movie trailers, video book trailers are short, minute and a half to two-minute videos that introduce the basic storyline. They differ from book reports captured on video in that in these productions the story is re-enacted with artistic and creative decisions made by the director as to what parts of the story are presented.
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
  • 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?
  • 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.
  • 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.
  • 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.
  • Whenever possible, educators should provide proper attribution and model citation practices that are appropriate to the form and context of use.
  • 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.
  • Students’ use of copyrighted material should not be a substitute for creative effort
  • 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.
Jody Watson

31 Days to Become a Better Ed Tech Leader -- Day 3: Find a Non-Specialist Gee... - 3 views

www.ictineducation.org/...leader-day-3-find-a-non-s.html

shared by Jody Watson on 26 Apr 10 - Cached
  • For example, I know a Teaching Assistant who is an artist and poet, and a visual thinker. The consequence of this is that he will often think about using animation, video, or photo story-telling
John Evans

National Gallery of Art NGAkids Art Zone - 0 views

www.nga.gov/index.htm

collage painting interactive web2.0 ngakids art EY MY SY

shared by John Evans on 26 Mar 09 - Cached
  • PHOTO OP (Shockwave, 7 MB) is a two-part interactive activity that introduces you to digital photography and digital photo editing. Use the virtual camera to create snapshots and explore lighting, focus, shutter speed, and compositional effects. After you've taken some photos, switch to the Photo Op editor and transform your pictures into something completely different. This Art Zone interactive is suitable for all ages. Young children will find it easy to take simple snapshots and transform or recolor their virtual photos. More advanced users can create complex artistic compositions by layering, applying filters, and experimenting with various special effects, lighting, and blends. If you need help, scroll down for some hints about how to use the program.  If your Internet connection is slow, allow the program to load fully, then come back to play.
  • John Evans on 26 Mar 09
     
    Very neat collection of online art creation tools.
John Evans

TextFlows: Reading Re-Invented - 0 views

www.textflows.com

reading flows presentation

shared by John Evans on 18 Apr 09 - Cached
  • TextFlows offer an entirely new way to interact with the written word. We use motion and light to present text as an animated flow on a simple, uncluttered screen. Reading becomes easier, more effective, and fun; writing receives an added dimension of artistic expression. Browse through some Flows, find one you like and play it full screen to get a sense of what we're all about! Then find out more:
Dean Mantz

Digital Booktalk - 5 views

digitalbooktalk.com

literature Video reading booktalks booktalk LanguageArts books edtech literacy technology K12 resources tools web2.0 education

shared by Dean Mantz on 05 Oct 09 - Cached
  • video book trailers are short, minute and a half to two-minute videos that introduce the basic storyline.
  • in these productions the story is re-enacted with artistic and creative decisions made
John Evans

chris jordan photography - 5 views

www.chrisjordan.com

environment consumption photography portfolio jordan artist

shared by John Evans on 23 Nov 09 - Cached
  • John Evans on 23 Nov 09
     
    Running the Numbers looks at contemporary American culture through the austere lens of statistics. Each image portrays a specific quantity of something: fifteen million sheets of office paper (five minutes of paper use); 106,000 aluminum cans (thirty seconds of can consumption) and so on. My hope is that images representing these quantities might have a different effect than the raw numbers alone, such as we find daily in articles and books. Statistics can feel abstract and anesthetizing, making it difficult to connect with and make meaning of 3.6 million SUV sales in one year, for example, or 2.3 million Americans in prison, or 32,000 breast augmentation surgeries in the U.S. every month. This project visually examines these vast and bizarre measures of our society, in large intricately detailed prints assembled from thousands of smaller photographs. Employing themes such as the near versus the far, and the one versus the many, I hope to raise some questions about the roles and responsibilities we each play as individuals in a collective that is increasingly enormous, incomprehensible, and overwhelming.
John Evans

Artistic to the Core: Music and Common Core | Edutopia - 1 views

www.edutopia.org/...ic-and-common-core-karin-nolan

music edutopia core curriucla

shared by John Evans on 25 Mar 14 - No Cached
  • John Evans on 25 Mar 14
     
    "I'm not a gambling person, but if I had to place a bet on one sure-fire method for engaging students, increasing test scores, reaching students who fall below standards, challenging students who exceed grade-level standards, accessing students' creativity and originality, maximizing brain connections formed, applying concepts to new situations, and making the learning process more fun for the students and teacher, I would place that bet on . . . teaching the core curriculum through the arts."
John Evans

Welcome to micro:mag - The Unofficial micro:bit Community Magazine « Adafruit... - 3 views

blog.adafruit.com/...al-microbit-community-magazine

micro:bit computer magazine

shared by John Evans on 07 Jul 18 - No Cached
  • John Evans on 07 Jul 18
     
    "micro:mag is a new magazine put together by members of the micro:bit community. From the micro:mag site: A dedicated magazine for the micro:bit is finally here. A team of community members got together to help bring you micro:mag. micro:mag is a magazine made by the community, for the community. All content in our magazine is 100% community written. micro:mag is a chance to get your project showcased to the wider community. If you'd like your project to be featured, please get in touch. The first issue was recently released and includes micro:bit related news, stories and projects. If you're interested in micro:bit, have a micro:bit project you'd like to show off, or would like to contribute content, check out micro:mag for more information!"
shiyambabu

Buy Verified Binance Accounts - 0 views

Buy Verified Binance Accounts

Buy Verified Binance Accounts

shared by shiyambabu on 26 Jul 23 - No Cached
  • shiyambabu on 26 Jul 23
     
    What is the process for verifying a Binance account? The cryptocurrency exchange Binance offers a trading platform for several cryptocurrencies. Verifying your account on the Binance platform involves the Binance account verification process. You need to validate your account before you may trade on the Binance platform. You must submit some basic information about yourself in order to complete the account verification procedure, which is a quick and easy process. Buy Verified Binance Accounts How can I purchase a verified Binance account? Purchasing a verified Binance account is a rather simple process. However, there are a few considerations. Make sure you only do business with reliable sellers in the beginning. There are many con artists who will attempt to take advantage of you. Second, make sure you are aware of the costs involved in the transaction. You must take Binance's 0.1% fee into consideration when calculating the cost of the account. Finally, be sure to safeguard your account information and personal information. This is crucial for any online transactions, but it's crucial when using cryptocurrencies. Buy Verified Binance Accounts
« First ‹ Previous 101 - 118 of 118
Showing 20▼ items per page