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John Evans

creatingaPLN » home - 0 views

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    joevans · My Wikis · My Mail · My Account · Help · Sign Out · wikispaces *This page can only be edited by organizers of this wiki.homeProtected * pagesubmenu o print o what links here? o rename o delete o redirect o unlock o view source * discussion * history * notify me Protected Welcome to our resource wiki for: Personal Learning Networks: The Power of the Human Network Judith Epcke (@jepcke) and Scott Meech (@smeech) Locations of visitors to this page Bold Italic Underline Color and Style Ordered List Unordered List Horizontal Rule Insert Link Remove Link Insert Images and Files Embed Widget Insert Table Insert Special Character Insert Code Cancel none Optional: a note about this edit for the page history log Optional: tags for this page, separated by commas Cancel Note that the content you create on http://creatingapln.wikispaces.com is licensed under the Creative Commons Attribution Share-Alike 3.0 License. Please only submit content that you write yourself or that is in the public domain. Learn more about our open content policy. Insert a File Double click an image or file to insert it into the page. Show: please wait... Page: Jump: A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Double clicking a file: inserts the file links to the file Upload New File notUploading Insert External Image by URL Enter an external image address, click "Load", then double click the image to insert it into the page. * Wikispaces Wikispaces * Video Video * Audio Audio * Calendar Calendar * Spreadsheet Spreadsheet * Document Document * Polls Polls * RSS Feed RSS Feed * Chat and IM Chat and IM * Slideshow Slideshow * Map Map * Bookmark Bookmark * Other HTML Other HTML Choose the category of application you would like to embed from the list on the left. Choose the kind of content you would like
John Evans

Copy Me: a new critical animation series about copying, culture and copyright - Boing B... - 0 views

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    "Copy Me is a new webseries (here's its Indiegogo fundraiser) constituting a series of short animations presenting accessible, informative, concise information about copyright, copying and culture. It's marvellously promising, and, as Mike Masnick points out, it's a much-needed addition to a canon that includes such brilliant material as Nina Paley's Copying is Not Theft and Kirby Ferguson's Everything is a Remix."
John Evans

How to copy and paste text in iOS | Phones | Macworld - 1 views

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    "One of the most common early complaints about the iPhone was its lack of support for cut, copy, and paste text editing capabilities. In fact, Apple didn't add a copy-paste feature until 2009's release of iOS 3.0, two years after the iPhone's initial launch. Similar Articles: Five favorite text-selection tips Lion: The Complete Macworld Review Tips and tricks for printing labels in Bento 4 Hands on with Adobe InDesign CS5.5 What's new in Lion: Versions, Auto Save, and Resume Hands on with Amazon's Kindle Cloud Reader But if you didn't watch Steve Job demonstrate copy and paste back then, you might not know how to make it work on your iOS device. Here's a quick primer."
ebrahimkhalil007

Buy verified Payoneer account at a reasonable price - 0 views

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    buy verified payoneer account $150.00 - $700.00 Buy Verified Payoneer Account With 15 Day`s Replacement Guarantee. Features For Our Services: ☑️ 100% Satisfaction & Recovery Guaranteed ☑️ US, UK, CA, Na, AUS Any Countries Phone Verify ☑️ Payoneer Email and password ☑️ Verify by: Full SSN/NID Provided ☑️ Verify by: Phone Access ☑️ Verify by: (Bank Verified) ☑️ Verify by: VCC (Card Verified) ☑️Verify by: Phone Access ☑️ Date of Birth Provided ☑️ Driving License Scan Copy ☑️ Bank Statement copy provided ☑️ Full Completed Profiles ☑️ 24/7 Customer Support ☑️ Documents [NID card scan copy + utility bill scan copy]
John Evans

Free Technology for Teachers: A Comparison of 11 Mobile Video Creation Apps - 4 views

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    "Tomorrow at the NCTIES 2014 conference I am facilitating a workshop on creating videos with mobile apps. I designed the workshop to accommodate users of iOS and Android devices. In preparation for the workshop I created this chart that compares the features and costs of eleven mobile video creation apps. The chart can be viewed as embedded below or you can grab a copy through Google Drive (click "File" the "make copy" to save a copy for yourself)."
John Evans

Seven Stages in Moving from Consuming to Creating | John Spencer - 9 views

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    "It has me thinking about my own experience with creative work. When I first got into drawing, I copied the styles of other artists. When I first got into poetry, I copied the style of my favorite poet. When I first wrote a novel, it was essentially fan fiction -- albeit at a time when no one knew that term. I have noticed similar trends among students. They often go through a phase of copying and mash-ups that occur before creating something truly original. I see this trend in art class, wood shop, in writer's workshops, and in STEM labs. So, this has me thinking about stages that I notice as students move from consumers of media to creators of media. I admit that this is not very scientific. There might be a better model out there that explains this phenomenon. However, here are seven stages I see students go through as they shift from consuming to creating: "
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.
  • ...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

How to download a copy of Apple data about you - 3 views

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    "Apple stores information about you, and you can download a copy of what it has. Apple knows the apps you've downloaded, the music you've downloaded and the books you've purchased. It also knows all the devices you've bought. Apple doesn't store other identifiable information, like your email or location, as some other tech companies do."
John Evans

Cut, Copy and Paste on an iPad - YouTube - 2 views

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    "A short introductory screencast on how to cut, copy and paste on your iPad. This technique works in every app using the keyboard."
John Evans

How to use Universal Clipboard with macOS Sierra | iMore - 0 views

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    "With the introduction of iOS 10 and macOS Sierra, Apple has stepped up its Continuity game with Universal Clipboard: Copy something on iOS, paste it on your Mac. Copy something on your Mac, paste it on iOS. It joins a growing list of features (Handoff, Calls, Instant Hotspot, Auto Unlock, and Messages) that connect your Mac to your iOS devices in super-convenient ways. Set"
John Evans

Logo Foundation Publications | Logo Update - 0 views

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    "In September, 1982, Tom Lough started The National Logo Exchange with Steve Tipps and Glen Bull as a monthly newsletter for Logo teachers and parents. In January, 1986 The International Logo Exchange was launched with Dennis Harper as the editor-in-chief. In September, 1986 these two publications were combined and renamed Logo Exchange . The International Council for Computers in Education (ICCE) acquired the publication in 1987, designating it as the official journal of the ICCE Special Interest Group for Logo-Using Educators (SIG-Logo). In 1989 ICCE was renamed the International Society for Technology in Education (ISTE). Logo Exchange continued as the ISTE journal for SIG-Logo until the fall of 1999, when the SIG was dissolved. The collected issues of Logo Exchange provide a window on Logo developments and Logo teaching over a span of 17 years. We are making these historic documents available here on the Logo Foundation Web site. All 18 volumes of The National Logo Exchange are posted here along with the four issues of The International Logo Exchange. We also include Last Logo Exchange, a collection of essays written by the former editors of Logo Exchange 15 years after it ceased publication. Click on an issue below to see a PDF scan of the original publication. These documents may be downloaded, reproduced, and copied for personal and educational uses provided that you do not charge for copies, and that you include the original copyright notices on them."
John Evans

Moving at the Speed of Creativity - Give eBook Copies of Playing with Media to Educator... - 5 views

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    "Give eBook Copies of Playing with Media to Educators at a Discount"
John Evans

BETT 2014 - iPad Apps For Learning | Next Generation Learning; Today... - 0 views

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    "This is the presentation I gave at BETT 2014. The idea was to demonstrate how my students and I have used six, non subject-specific, iPad Apps in a variety of different contexts across the curriculum." http://prezi.com/asnlltmcowev/?utm_campaign=share&utm_medium=copy&rc=ex0share http://prezi.com/asnlltmcowev/?utm_campaign=share&utm_medium=copy&rc=ex0share"
John Evans

Crazy Easy: Make a list in a Google Form | Teacher Tech - 5 views

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    "Legacy Google Forms if you had a whole list of options you wanted students to choose from you had to copy and paste each item separately No more! The new Google Forms allows you to copy and paste a list right into a multiple choice, choose from a list or checkboxes question type."
John Evans

A Step By Step Guide On How to Create Assignments in Google Classroom ~ Educational Tec... - 1 views

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    "Google Classroom allows you to easily create, share and collect assignments with your students paperlessly. Being integrated with other services such as Gmail, Drive and Google Docs, Classroom provides teachers with an intuitive platform preeminently geared towards enhancing the assignment flow between teachers and students.  As a teacher, you have access to several features related to your assignments. You can, for example, use the same assignment in different classes. You can also choose whether you want your students to work on individual copies of the assignment or work on the same copy. Moreover, Classroom lets you share individualized feedback with your students and track how they are  faring on their assignments"
John Evans

Free Technology for Teachers: 5 Things I Learned While Re-reading Invent to Learn - 6 views

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    "When Sylvia Martinez and Gary Stager published Invent to Learn a couple of years I quickly read it on my Android tablet through the Kindle app. Then in March of this year I had a chance to talk with Gary for a while at a conference that we were both invited to in Sydney. While there I bought a paperback copy of Invent to Learn. I have now read it two more times and filled it with notes in the margins of the pages (scribbling notes is the best part about having a physical copy of a book). In no particular order, here are five highlights from the notes I've taken while reading Invent to Learn. "
John Evans

CITE Journal - Language Arts - 5 views

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    "Copying Right and Copying Wrong with Web 2.0 Tools in the Teacher Education and Communications Classrooms"
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