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John Evans

1 million UK children to be given a free computer for coding - CNET - 1 views

www.cnet.com/...en-to-be-given-a-free-computer

children free computer coding BBC UK

shared by John Evans on 12 Mar 15 - No Cached
  • John Evans on 12 Mar 15
     
    "The UK's 11-year-olds will be issued with a basic computer by publicly-funded broadcaster the BBC this year, to encourage them to get into coding. The simple Micro Bit computer will be given to 1 million children starting UK secondary school in this coming autumn term. Coding has been on the school curriculum in Britain since last year as part of a move to give kids a foundation in science, technology, engineering and mathematics (STEM) subjects. In secondary school, children learn two or more programming languages as well as related subjects like Internet safety."
John Evans

The NFL's magic yellow line, explained - YouTube - 1 views

www.youtube.com/watch

NFL magic yellow line explained youtube

shared by John Evans on 08 Feb 16 - No Cached
  • John Evans on 08 Feb 16
     
    "Since the late 1990s, the virtual yellow line has been quietly enhancing football broadcasts by giving viewers a live, intuitive guide to the state of play. The graphic is engineered to appear painted on the field, rather than simply plopped on top of the players, so it doesn't distract from the game at all. The line debuted during a September 27, 1998, game between the Baltimore Ravens and the Cincinnati Bengals. It was developed by a company called Sportvision Inc. and operated by six people in a 48-foot semi-truck parked outside the stadium. ESPN was the only network that immediately agreed to pay the steep price of $25,000 per game. Before long, other companies began offering the yellow line to the other networks, and now you won't see a football game without it. "
John Evans

Free Technology for Teachers: Three Good Resources for Learning About the Science of Ba... - 1 views

www.freetech4teachers.com/...ources-for-learning-about.html

resources science baseball

shared by John Evans on 08 Jun 18 - No Cached
  • John Evans on 08 Jun 18
     
    "Watching a Red Sox game or listening to one on the radio is one of my favorite things to do on a warm summer night like we're having tonight in Maine. During the pregame show this evening the broadcasters were talking about the launch angle of some of the homeruns hit by Red Sox players this year. That discussion of launch angle triggered my memory of some resources that I've shared over the years regarding the math and science of baseball. "
John Evans

About Serial - 2 views

serialpodcast.org/about

podcast Serial storytelling

shared by John Evans on 15 May 19 - No Cached
  • John Evans on 15 May 19
     
    "Serial is a podcast from the creators of This American Life, hosted by Sarah Koenig. Serial tells one story - a true story - over the course of a season. Serial has won every major award for broadcasting, including the duPont-Columbia, Scripps Howard, Edward R. Murrow, and the first-ever Peabody awarded to a podcast. Serial, like This American Life, is produced in collaboration with WBEZ Chicago.  It comes from Serial Productions, which released S-Town in 2017, and has more projects in development."
Clint Hamada

The Code of Best Practices in Fair Use for Media Literacy Education -- Publications --... - 8 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.
John Evans

Kids Who Can't Read Can Program by @SamPatue · TeacherCast Educational Broadc... - 0 views

www.teachercast.net/...kids-cant-read-can-program

kids program coding nonreaders sampatterson makered

shared by John Evans on 07 Jul 16 - No Cached
  • John Evans on 07 Jul 16
     
    "In episode four of the hottest elementary programming podcast until Vicky Sedgwick launches a podcast, Beyond the Hour of Code, The focus is on how programming can support learning for students who cannot yet read. There are an ever-expanding number of tools out there that use non-text elements to help students express themselves. Some of my favorites,Kodable  and ScratchJR, are talked about in this episode of Beyond the Hour of Code."
John Evans

Finding a voice: students use iPads to communicate - ABC Darwin - Australian Broadcasti... - 1 views

www.abc.net.au/...3483635.htm

finding voice students ipads australia schools integrations

shared by John Evans on 10 Sep 12 - No Cached
  • John Evans on 10 Sep 12
     
    "Today, Caitlin responds to her teacher a different way. "Hello, can I have your compost please?" comes a voice from an iPad, slung around her neck."
Phil Taylor

Broadband, Social Networks, and Mobility Have Spawned a New Kind of Learner -- THE Journal - 5 views

thejournal.com/...ial-networks-and-mobility.aspx

social networks leaning pew research education

shared by Phil Taylor on 09 Jan 12 - No Cached
  • the near ubiquity of mobile computing is producing a fundamentally new kind of learner, one that is self-directed, better equipped to capture information, more reliant on feedback from peers, more inclined to collaborate, and more oriented toward being their own "nodes of production."
  • "We've all got audiences now on Twitter and Facebook," Rainie said. "Everybody can be a publisher and broadcaster; students in particular are taking advantage of tha
John Evans

Minecraft: Researchers urge teachers to embrace game as tool to teach maths, art, geogr... - 0 views

www.abc.net.au/...6602078

minecraft research

shared by John Evans on 08 Jul 15 - No Cached
  • John Evans on 08 Jul 15
     
    "Teachers should use the hugely popular children's digital game Minecraft to help teach maths, design, art and geography, research from the Queensland University of Technology (QUT) shows."
John Evans

YouTube - Broadcast Yourself. Copyright information - 0 views

www.youtube.com/terms

youtube legal copyright

shared by John Evans on 30 Oct 08 - Cached
  • You may access User Submissions solely: for your information and personal use; as intended through the normal functionality of the YouTube Service; and for Streaming. "Streaming" means a contemporaneous digital transmission of an audiovisual work via the Internet from the YouTube Service to a user's device in such a manner that the data is intended for real-time viewing and not intended to be copied, stored, permanently downloaded, or redistributed by the user. Accessing User Videos for any purpose or in any manner other than Streaming is expressly prohibited. User Videos are made available "as is."
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