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John Evans

Where Edtech Can Help: 10 Most Powerful Uses of Technology for Learning - InformED : - 2 views

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    "Regardless of whether you think every infant needs an iPad, I think we can all agree that technology has changed education for the better. Today's learners now enjoy easier, more efficient access to information; opportunities for extended and mobile learning; the ability to give and receive immediate feedback; and greater motivation to learn and engage. We now have programs and platforms that can transform learners into globally active citizens, opening up countless avenues for communication and impact. Thousands of educational apps have been designed to enhance interest and participation. Course management systems and learning analytics have streamlined the education process and allowed for quality online delivery. But if we had to pick the top ten, most influential ways technology has transformed education, what would the list look like? The following things have been identified by educational researchers and teachers alike as the most powerful uses of technology for learning. Take a look. 1. Critical Thinking In Meaningful Learning With Technology, David H. Jonassen and his co-authors argue that students do not learn from teachers or from technologies. Rather, students learn from thinking-thinking about what they are doing or what they did, thinking about what they believe, thinking about what others have done and believe, thinking about the thinking processes they use-just thinking and reasoning. Thinking mediates learning. Learning results from thinking. So what kinds of thinking are fostered when learning with technologies? Analogical If you distill cognitive psychology into a single principle, it would be to use analogies to convey and understand new ideas. That is, understanding a new idea is best accomplished by comparing and contrasting it to an idea that is already understood. In an analogy, the properties or attributes of one idea (the analogue) are mapped or transferred to another (the source or target). Single analogies are also known as sy
John Evans

How to Give and Receive Feedback About Creative Work - 1 views

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    "Feedback is crucial for learning and improving, but it's rarely fun to be on the receiving end of it when it's critical. Many people have a negative reaction to feedback, especially feedback on their creative work. In a study of seven companies and 11,471 days of creative work, researchers found two striking patterns: First, getting feedback was incredibly rare, indicating that people seemed to avoid it; and second, when people did receive feedback, it generally left a negative emotional residue. So what might good feedback for creative work look like? By "good feedback," I mean feedback that creative workers actually want and that leads to changes that improve their creative output."
John Evans

Can creativity be taught? | eSchool News - 2 views

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    "As we look at future jobs and technological advancements, having creativity is essential in the workplace. Robots and AI will be able to handle many tasks, even replacing some types of jobs, but we will still need creative thinkers and designers to move ahead globally. As educators, how do we ensure that students learn this skill in our curriculums? Can creativity be taught? Why are some people more creative than others? If you tell students to be creative, do they even know what it means or where to begin?"
John Evans

We Need a Bigger Definition of Creativity - YouTube - 0 views

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    "When you the word "creative," you might think of a painter or a playwright or an author or a photographer or a filmmaker or a chef. In other words, you might think of people who make things. I think it's what we mean when we use a label like "creative type." But there is no such thing as a creative type. We are all creative. Every one of us. We just need a bigger definition of creativity. "
John Evans

Using Creativity to Boost Young Children's Mathematical Thinking | MindShift | KQED News - 0 views

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    "The students in Molly James's kindergarten classroom were tasked with creating a mathematical art gallery. They had each drawn a number and then searched for two types objects they could use to compose a visual number sentence - such as two rulers plus three scissors to equal five objects. After photographing and mounting their pictures on the wall in numerical order, the students sat on the floor with their sketchbooks and began to draw and talk. "I had expected them to learn something about number composition," James said, "but I didn't expect the remarkable observations they began to have about the photographs." For example, when one girl looked at a picture of two red scissors and three blue scissors (2+3=5), she noticed that the direction of the handles gave rise to a new number sentence: 4 scissors pointing left + 1 scissor pointing right = 5 scissors. James, who recently published a paper about creativity in the classroom, said moments like these remind her that "creativity is not fluff or an add-on, but is instead an essential part of what it means to be a mathematician."  In fact, she believes creativity is the key to helping her students become confident and skilled mathematical thinkers."
John Evans

Five Ways Humor Boosts Creative Thinking and Problem-Solving in the Classroom - John Sp... - 3 views

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    "When we think about creativity and innovation, the words "humor" and "goofiness" don't typically come to mind. But I'd argue that this is a critical piece of what it means to cultivate a climate of creativity. "
John Evans

Getting Creative With Video in the Classroom | Jonathan Wylie: Instructional Technology... - 4 views

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    "While watching the Oscars tonight, I was intrigued to see a promotion that Walmart was running to celebrate the craft of film making. I don't normally pay a lot of attention to  commercials, but these ads managed to catch my attention, and I think that they have some interesting potential for teachers who are looking to add some creativity to video projects in their classroom. Walmart contacted four award-winning directors, Seth Rogan and Evan Goldberg (Superbad, Neighbors), Antoine Fuqua (Southpaw, The Magnificent Seven), and Marc Forster (Monster's Ball, The Kite Runner). They sent each of them a receipt with the same six items and challenged them to make a one minute movie that was centered around the six items on the receipt. You can learn more here, but take a look at the videos below to see what these talented directors came up with… The three stories are very different, but they would be, wouldn't they? I mean, if you challenged your students to do something like this, the results you got would likely be very different too. Wouldn't they?  Because although the parameters are the same for every student, this is still a very open-ended activity that just screams for a creative outcome."
John Evans

7 Great iPad Apps for Creating Comic Strips ~ Educational Technology and Mobile Learning - 3 views

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    " Being creative means setting free your imaginative powers to experiment with new worlds and experiences. The art of comic creation is one of the best representation of creativity at work. As teachers and educators, we can use the power and versatility of iPad to cultivate a creative culture within our classes and among our students through helping them tinker with and design comics. Here is a list of some great iPad apps you can use for this purpose:"
John Evans

5 TED Talks You Need to Watch if You Care About Learning - 0 views

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    "Whether teacher, trainer, or instructional designer these are 5 TED talks you need to watch. They all provide insight into the way we learn and what's wrong with how we currently 'deliver' learning. They all think big when envisaging how we might design and create engaging and meaningful learning experiences. My key takeaways: Creativity should have the same status as literacy. Solving problems sparks curiosity and creativity. Conversely giving the learner too much information can kill that buzz. We need creative problem solvers for our future. Learning happens best when it is social, collaborative, has meaning and is on the learners terms."
John Evans

From sceptic to convert using iPads in my classroom - Educate 1 to 1 - 2 views

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    "At first, I have to admit I was not the greatest fan of the iPad. Aside from its obvious advantages, like the battery life and the time gained from not having to get the class to 'log on', it seemed like an expensive gimmick. However, after experimenting with iMovie, I began to see some of its potential and I was hooked. I soon found that many of the content-free apps, such as iMovie, Keynote and PuppetPals provided me with a medium through which I could teach in an inspiring and innovative way. Three years on, the school now has one iPad between two children and the opportunities to use the technology in a creative way have multiplied. The iPad is a valuable and powerful resource which has changed my approach to teaching and learning. My lessons are now more dynamic, with greater opportunities for the children to make decisions and choices for themselves. The pupils are often scattered around the school working in small groups to develop creative ways to record, present, evaluate and explain. My role as a teacher has also changed as I have become a facilitator and guide, providing quality control and advice. I have been able to introduce longer integrated projects combining different subjects and skills where the iPad is a key tool in the process. The iPad has been invaluable in enabling me to make the curriculum change I wanted. I can now say the skills of curiosity, collaboration, critical thinking, reflectiveness and creativity are being practised on a daily basis through this technology. However, it is the ease with which you can create on the iPad that has had the most impact in my classroom. The controls are so intuitive that very little time, if any once an app has been introduced, is spent teaching the children how to use the technology. This means that tasks that would have seemed too complicated or time consuming in the past are now possible."
John Evans

3 Reasons Why Faculty Meetings Are a Waste of Time - Finding Common Ground - Education ... - 2 views

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    "3 Reasons Why Faculty Meetings Are a Waste of Time By Peter DeWitt on April 10, 2015 6:50 AM Faculty Meeting.png Many school leaders walk into a faculty meeting with a single idea of how they want to move forward and walk out with the same idea. That's telling... John Hattie talks a great deal about the Politics of Distraction, which means we focus on adult issues, and not enough time...if ever...on learning. That is happening around the U.S. for sure. Recently the Assembly of NY State only furthered those distractions, which you can read about here, which means that school leaders and teachers have to work harder to maintain a focus on learning. Quite frankly, well before mandates and accountability, school leaders focused on the politics of distraction and not on learning. Compliance is not new in schools. Faculty meetings were seen as a venue to get through and something that teachers were contractually obligated to attend. During these days of endless measures of compliance, principals can do a great deal to make sure they don't model the same harmful messages to staff that politicians are sending to teachers. Jim Knight calls that "Freedom within form." In Talk Like Ted, Carmine Gallo quotes Marissa Mayer (CEO of Yahoo) when he writes, "Creativity is often misunderstood. People often think of it in terms of artistic work - unbridled, unguided effort that leads to beautiful effect. If you look deeper, however, you'll find that some of the most inspiring art forms - haikus, sonatas, religious paintings- are fraught with constraints. (p. 190)" Clearly, constraints have a wide definition. There is a clear difference between the constraints of compliance and the stupidity of the legislation just passed by the assembly in NY. As we move forward, principals still are charged...or at least should be...with the job of making sure they offer part...inspiration, part...teacher voice...and a great deal of focus on learning. There is never a more important tim
John Evans

The Making of a Maker on Parentage A Magazine by Sproutling - 0 views

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    "Call it an industrial evolution. As the maker movement outgrows the garage and shifts into popular culture, anyone with an internet connection can click into a world full of creative possibilities. That includes kids, some of whom can code, craft, and build with the best of us by elementary school. A slew of websites, fairs, and maker's guilds are available to introduce kids to the basics of design and engineering, and tech-savvy parents often bring their children into the fold by starting with small projects. Experimental schools, such as the Tinkering School or Brightworks Academy in San Francisco, are also tailoring their curricula towards hands-on skills aimed specifically at boosting fluency in STEAM (Science, Technology, Engineering, Arts, and Math). But you don't need a formal program or DIY-fluency to empower your kid to chase their creativity. All they need are some interesting tools, a little guidance, and the space to pursue their passions. For the parents of some kids, like Alonzo King, 12, that means letting him tear apart cassette players and see what he can build out of the parts. For others, like the parents of Miles Hacker (yes, that's his real name), 10, that means waking up to a living-room-sized spider web that their son made from a roll of tape."
John Evans

Designer Challenges Himself To Create Logos With Hidden Meanings For A Year, And Result... - 2 views

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    "Wordplay is a never-ending source of amusement for me, with puns, spoonerisms and double entendres bringing a little extra color and life to the everyday language that we sometimes take for granted. Swedish designer Daniel Carlmatz also loves to get creative with words, but in a different way. He set himself a challenge to create a new typographic logo each day for 365 days, using a common word and adding related visual elements through symbolism, creative use of negative space, and geometry. "The inspiration for the 365 day challenge came from trying to challenge myself to look at type and design from a different perspective," Daniel told Bored Panda. "The challenge was just an outlet for my personal design thinking. And yes, I did manage to finish it without missing a day!""
John Evans

Smart-Camera Photography: Enrich Students' Creative Writing Skills | Edudemic - 2 views

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    ""How did you get your kids to do that?" It's a question I often get from colleagues when they see a picture a student took in my digital photography class - a class I dub iPhoneography, as much for the ubiquitous accessory that many of my middleschoolers wield like an appendage as for the hipster play on words, although the name belies the fact that any smart phone will do. That, and an eye for observing the sometimes aesthetic but always interesting minutiae of the day-to-day, or what Picasso called, "the dust of everyday life." Sound pretentious? Sure, but that doesn't mean it isn't doable for 12- and 13-year-olds."
John Evans

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

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    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

Children shouldn't learn to code. Ultimately, machines will be better | WIRED UK - 0 views

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    Machines are already superintelligent on many axes, including memory and processing speed. Unfortunately, those are the attributes our education system currently rewards, with an emphasis on learning by rote. It doesn't make sense to me. Part of my job as an investor is to attempt to predict the future - I need to make bets on the way we'll be behaving in the next two, five, ten and 20 years. Computers already store facts faster and better than we do, but struggle to perfect things we learn as toddlers, such as dexterity and walking. We need to rethink the way we teach our children and the things we teach them. Creativity will be increasingly be the defining human talent. Our education system should emphasise the use of human imagination to spark original ideas and create new meaning. It's the one thing machines won't be able to do.
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 Incubate Creativity in School Through Making and Discovery | MindShift | KQED News - 0 views

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    "Math teacher Laura Kretschmar gave students a rubric with specific goals around collaboration, communication and instructions to use various functions in the program, but not a lot else. She's intentionally giving them a lot of freedom to play with the program, create cool designs and figure out what the functions do. "I think "y" means, like, going up," says Juritzy Maldonado. "So to pull it up, I'm going to try to change the number." She punches in 200 for "y" and watches the image she's creating shift upward. Another group discovers that if they hit "repeat" multiple times, they can create a parachute-like design that they've figured out how to color in various ways. That wasn't their original plan, but they're running with it now."
John Evans

Download Ten Free Writing Ideas for the First Week of School - Education Rethink - 0 views

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    "Check out the visual writing idea for the first week of school. This set comes with both a curriculum and a set of visual ideas (as .png). Simply click on the icon above and it should download. Click on the .zip file (most likely in your Download folder of your computer) and everything should work. The resource is Creative Commons, meaning you can print, display or distribute it as you wish.  "
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