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Phil Taylor

Can Focus On 'Grit' Work In School Cultures That Reward Grades? | MindShift - 0 views

blogs.kqed.org/...ol-cultures-that-reward-grades

grit fixed mindset growth mindset education change mindset

shared by Phil Taylor on 24 Mar 14 - No Cached
  • Stanford University professor Carol Dweck puts it, they need to have a “growth mindset” — the belief that success comes from effort — and not a “fixed mindset” — the notion that people succeed because they are born with a “gift” of intelligence or talent.
David McGavock

Education for learning to live together | The Nation - 0 views

www.nation.com.pk/...-for-learning-to-live-together

collaboration education learning nation LTLT

shared by David McGavock on 23 Dec 12 - No Cached
  • 16 years ago, a UNESCO world commission came up with a blue-print of Education For the 21st Century. It was headed by J. Delors, a former prime minister of France and included 12 outstanding education leaders and experts from all over the world.
  • (1) Learning to Know----(fomal/informal education) (2) Learning to do—(skills) (3) Learning to Live Together-----and Learning to Be-----(self-realization)
  • in the present day and age, crucial that we addressed the need to learn about other people, their history and cultures and thus by “recognizing interdependence as well as the risks and challenges involved, we will be able to develop more effective solutions to manage and minimize conflicts
  • ...5 more annotations...
  • The report also spoke about 7 over-arching tensions, these being:1.    The tension between the global and the local.2.    The tension between the universal and the individual.3.    The tension between tradition and modernity.4.    The tension between long term and short term considerations.5.    The tension between competition and concern for equality of opportunity.6.    The tension between expansion of knowledge and our capacity to assimilate it.7.    The tension between the spiritual and the material.
  • proposed the promotion of citizenship values, respect for others’ cultures, appreciation of differences, creating awareness of commonalities leading to resolving conflicts through dialogues and working peace and development.
  • He made a spirited plea for making concerted efforts to ensure that Learning To Live Together (LTLT) is universally accepted as an educational response to resolving of differences and conflicts.
  • Pakistan today is a frightfully faction-and-conflict-ridden society. We have to reckon with a daily toll of a number of innocent lives all over the country.
  • More than perhaps, any other country, Pakistan needs to take up without delay, besides other necessary measures, well-devised educational programmes aimed at imparting the art and strategies of Learning To Live Together
  • David McGavock on 23 Dec 12
     
    7 over-arching tensions, these being: 1. The tension between the global and the local. 2. The tension between the universal and the individual. 3. The tension between tradition and modernity. 4. The tension between long term and short term considerations. 5. The tension between competition and concern for equality of opportunity. 6. The tension between expansion of knowledge and our capacity to assimilate it. 7. The tension between the spiritual and the material.
Shine Classifieds

FINANCIAL ADVISOR - IN COIMBATORE - 0 views

www.shineclassifieds.com/VISOR-IN-COIMBATORE-47370.html

shared by Shine Classifieds on 23 Jun 13 - No Cached
  • Shine Classifieds on 23 Jun 13
     
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Shine Classifieds

HIT Anti Roach Gel a product from Godrej - 0 views

www.shineclassifieds.com/product-from-Godrej-47639.html

shared by Shine Classifieds on 23 Jun 13 - No Cached
  • Shine Classifieds on 23 Jun 13
     
    a cockroah-free home without the effort of having to empty drawers S cupboards , covering food etc.posted ID :iinfo.d109
Phil Taylor

The top 10 edtech lessons I've learnt after 15 years in schools - Karl Rivers - Medium - 4 views

medium.com/...-years-in-schools-8b448f29f55c

edtech lessons schools

shared by Phil Taylor on 04 Mar 16 - No Cached
  • The answer is that Google Classroom doesn't take any effort to use.
  • It’s about people not technology
  • There’s no such thing as a digital native
  • ...5 more annotations...
  • Always read the terms and conditions
  • I’m all for teachers experimenting with new apps, but please read the Ts and Cs before sighing up your students.
  • ntirely new concepts of technology are flooding into the industry every day, and it’s impossible to keep up. The best we can do is put in place policies an procedures to allow our teachers and students to take advantage of them in a safe and secure way.
  • Forget about hardware, the Internet is the platform of the future
  • Keep your data and your devices independent. Become device agnostic. Forget hardware and operating systems and become a cross-platform service provider.
sereinonline

Pink completely recovers from coronavirus, donates $1m to pandemic relief efforts ~ Ser... - 0 views

www.sereinonline.gq/...-completely-recovers-from.html

online latest news

shared by sereinonline on 05 Apr 20 - No Cached
  • sereinonline on 05 Apr 20
     
    We provide Online Latest News, Checkout for the latest and top listed Breaking News from Pakistan and around the World, Get the Latest Sports News, Breaking News updates on Politics, Current Affairs, Online Latest Technology, Showbiz, Covid-19 News… Serein Online…
imgpaper

https://imgpaper.com/ - 0 views

imgpaper.com

Wallpaper Illustration Murals Architectural Decorative Stock Images Home Décor and Graphics Design

shared by imgpaper on 16 Jun 22 - No Cached
  • imgpaper on 16 Jun 22
     
    Hello there, We are from ImgPaper Graphics Design provider company. Hope to have the opportunity to cooperate with you. We are professionals for all kinds of Graphics Design related service providers all over the world. Have our own Corporate office in Bangladesh and we provide excellent quality and best price service. We have more than 10 year's experience and have cooperated with many countries and companies. You can check portfolio website for expertizing: www.imgpaper.com Our Service: Photo Manipulation Background Remove Photo Masking Post Production image Clipping Path Service 3D Wallpaper Design Illustration Design Architectural Design Stock Images If you need more information, please contact us. Looking forward to your early reply! Please see the attached file below for Business Proposal. Have a Good Day! Regards, Md. Omor Faruk Sales & Marketing Team at ImgPaper E-mail: info@imgpaper.com Website: www.imgpaper.com WhatsApp: +8801309867064
imgpaper

ImgPaper - Business Proposal for Graphics Design - 0 views

https://imgpaper.com/ Imgpaper provides Wallpaper, Illustration, Murals, Architectural, Decorative, Stock Images, Home Decor and Graphics Design Services. ImgPaper is a collective effort of thousan...

education technology learning resources ipad tools Google apps web2.0 classroom graphic

started by imgpaper on 16 Jun 22 no follow-up yet
usasmmcity24

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

usasmmcity.com/...buy-negative-google-reviews

education technology learning resources ipad tools apps web2.0 classroom google reviews

shared by usasmmcity24 on 09 Mar 24 - No Cached
  • usasmmcity24 on 09 Mar 24
     
    Buy Negative Google Reviews In today's digital world, online review play a crucial role in shaping consumer decisions. Positive reviews can help businesses attract new customers and build a solid reputation, while negative reviews can have the opposite effect, potentially driving potential clients away. In an attempt to combat this, some businesses have resorted to unethical practices, such as buying negative Google reviews for their competitors. This devious strategy aims to tarnish a competitor's reputation and gain an unfair advantage in the market. In this article, we will delve into the controversial practice of buying negative Google reviews, exploring its implications for businesses and consumers alike, and discussing the ethical concerns surrounding this nefarious tactic. What are negative Google reviews? In today's digital age, online review have become an integral part of our decision-making process. Whether we're searching for a local restaurant, a reputable plumbing service, or a new product to buy, we often turn to platforms like Google to read what others have said about their experiences. Positive reviews reassure us, while negative ones raise concerns and prompt us to reconsider our options. Negative Google reviews are user-generated testimonials that reflect a poor experience or dissatisfaction with a particular business or service. These reviews typically express frustration, disappointment, or anger towards the company, its products, or its customer service. While some negative reviews are constructive and provide genuine feedback, others may be exaggerated or even fabricated. To understand negative Google reviews, it is important to recognize that they serve multiple purposes. First and foremost, they offer a means for customers to voice their opinions and share their experiences with others. For many people, leaving a negative review can be a form of catharsis or a way to warn others of potential pitfalls. It also holds businesses ac
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.
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  • 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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