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John Evans

2009 Horizon Report » One Year or Less: Mobiles - 0 views

wp.nmc.org/...mobiles

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shared by John Evans on 24 Jan 09 - Cached
  • Time-to-Adoption Horizon: One Year or Less The unprecedented evolution of mobiles continues to generate great interest. The idea of a single portable device that can make phone calls, take pictures, record audio and video, store data, music, and movies, and interact with the Internet — all of it — has become so interwoven into our lifestyles that it is now surprising to learn that someone does not carry one. As new devices continue to enter the market, new features and new capabilities are appearing at an accelerated pace. One recent feature — the ability to run third-party applications — represents a fundamental change in the way we regard mobiles and opens the door to myriad uses for education, entertainment, productivity, and social interaction.
John Evans

World Without Walls: Learning Well with Others | Edutopia - 0 views

www.edutopia.org/age-technology-will-richardson

edutopia willrichardson article PLN network collaboration

shared by John Evans on 16 Dec 08 - Cached
  • Her response blew me away. "I ask my readers," she said. I doubt anyone in the room could have guessed that answer. But if you look at the Clustrmap on Laura's blog, Twenty Five Days to Make a Difference, you'll see that Laura's readers -- each represented by a little red dot -- come from all over the world. She has a network of connections, people from almost every continent and country, who share their own stories of service or volunteer to assist Laura in her work. She's sharing and learning and collaborating in ways that were unheard of just a few years ago.
  • Welcome to the Collaboration Age, where even the youngest among us are on the Web, tapping into what are without question some of the most transformative connecting technologies the world has ever seen.
  • The Collaboration Age is about learning with a decidedly different group of "others," people whom we may not know and may never meet, but who share our passions and interests and are willing to invest in exploring them together. It's about being able to form safe, effective networks and communities around those explorations, trust and be trusted in the process, and contribute to the conversations and co-creations that grow from them. It's about working together to create our own curricula, texts, and classrooms built around deep inquiry into the defining questions of the group. It's about solving problems together and sharing the knowledge we've gained with wide audiences.
  • ...4 more annotations...
  • Inherent in the collaborative process is a new way of thinking about teaching and learning. We must find our own teachers, and they must find us.
  • As connectors, we provide the chance for kids to get better at learning from one another. Examples of this kind of schooling are hard to find so far, but they do exist. Manitoba, Canada, teacher Clarence Fisher and Van Nuys, California, administrator Barbara Barreda do it through their thinwalls project, in which middle school students connect almost daily through blogs, wikis, Skype, instant messaging, and other tools to discuss literature and current events. In Webster, New York, students on the Stream Team, at Klem Road South Elementary School, investigate the health of local streams and then use digital tools to share data and exchange ideas about stewardship with kids from other schools in the Great Lakes area and in California. More than learning content, the emphasis of these projects is on using the Web's social-networking tools to teach global collaboration and communication, allowing students to create their own networks in the process.
  • Collaboration in these times requires our students to be able to seek out and connect with learning partners, in the process perhaps navigating cultures, time zones, and technologies. It requires that they have a vetting process for those they come into contact with: Who is this person? What are her passions? What are her credentials? What can I learn from her?
  • Likewise, we must make sure that others can locate and vet us. The process of collaboration begins with our willingness to share our work and our passions publicly -- a frontier that traditional schools have rarely crossed. As Clay Shirky writes in Here Comes Everybody: The Power of Organizing Without Organizations, "knowingly sharing your work with others is the simplest way to take advantage of the new social tools." Educators can help students open these doors by deliberately involving outsiders in class work early on -- not just showcasing a finished product at the spring open house night.
Phil Taylor

iPad in every TEACHER'S hand | Opening Doors and Turning On Lights - 15 views

jmclean77.wordpress.com/...ipad-in-every-teachers-hand

ipad education teacher edtech

shared by Phil Taylor on 28 Oct 11 - No Cached
  • . I use Evernote for all my notes for school, student council meetings and PD’s. I also use Google docs to help me with assessment as I wander the room too.
  • Downloading great content from iTunes U and having the ability watch or listen without internet is such an advantage with this device
dfic11

open top container for sale - 0 views

www.dfichk.com/...open-top-container

open top container for sale

shared by dfic11 on 26 May 22 - No Cached
  • dfic11 on 26 May 22
     
    DFIC manufacture high-quality open top container for hundreds of clients these years, and provide all kinds of logistics container solutions for container transportation internationally. Instead of steel roof, open top containers have an empty top covered by a tarp. This allows for the loading of oversized cargo such as timber and scrap metal from the top. Open top cargo containers, like closed containers, usually have end doors to allow for easier loading and unloading.
dfic11

open side storage container - 0 views

www.dfichk.com/...open-side-container

open side storage container

shared by dfic11 on 26 May 22 - No Cached
  • dfic11 on 26 May 22
     
    DFIC manufactures high-quality open-sided containers. Open side shipping container is a kind of ship carrying containers which have been modified to incorporate two sets of double doors into the long side of the container. This opens up the entire length of the container, giving full and unrestricted access.
usasmmcity24

Buy negative google reviews-Reviews will be ⭐ star... - 0 views

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shared by usasmmcity24 on 09 Mar 24 - No Cached
  • usasmmcity24 on 09 Mar 24
     
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7 Best Sites to Buy Google 5 Star Reviews (Non-Drop & 5 Star) - 0 views

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shared by buy5starshop4165 on 14 Apr 25 - No Cached
  • buy5starshop552 on 14 Apr 25
     
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  • buy5starshop4165 on 27 Apr 25
     
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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.
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