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John Evans

Mobile Learning Institute - 0 views

www.mobilelearninginstitute.org/21stcenturyeducation

learning 21stcenturyskills institute mobile innovation education video

shared by John Evans on 23 Mar 09 - Cached
  • The Mobile Learning Institute’s film series “A 21st Century Education” profiles individuals who embrace and defend fresh approaches to learning and who confront the urgent social challenges that are part of a 21st century experience. “A 21st Century Education” compiles, in short film format, the best ideas around school reform. The series is meant to start, extend, or nudge the conversation about how to make change in education happen.
John Evans

The Educational Technology Site: ICT in Education: --> A Preview of 2DIY - 0 views

terry-freedman.org.uk/...article_1448.php

2diy game builders review

shared by John Evans on 14 Jan 09 - Cached
  • I like the idea that children could use this to devise activities which, rather than testing or extending their skills by doing the activity itself, does so by requiring them to design the activity themselves
  • For example, when creating a quiz they may have to think about issues like the path taken by the user, how to frame the question, show the scoring will work, and what sounds (if any) to use for the feedback.
  • News & Views A Preview of 2DIY By Terry Freedman Created on Wed, 14 Jan 2009, 09:33 Email this article  Printer friendly page Email the author Listen to this article if ("">"") { document.write (""); document.write (""); document.write (""); } I've just received a link to download the latest program from 2Simple. Called 2DIY (for non-Brits, DIY = do-it-yourself, a shorthand term for home making things like bookshelves for the home), it enables users to create their own games and exercises.I've had a quick exploration, and it is looking very good. Read on for a quick thumbnail sketch, and why I think you should look into it.Back in the 1990s I used to love looking at shareware games developed for the educational sector. Some of the games were quite fun, but the problem for me was either that the game wasn't really educational at all, or that it didn't quite do what I'd have liked. Unfortunately, I never had the time to develop my games programming skills in order to rectify the situation.I think 2DIY would have been a step in the right direction.I think the best way of describing the program -- bearing in mind I've had it installed for less than an hour -- is that it's the programming equivalent of a painting or desktop publishing program. What you have  is a suite of specialised  tools, and you can use them to build yourt own games and activities.You can see from the screenshot that the range is quite extensive. The manual is easy to use, and there are videos and examples available.It has the ability to let you import pictures or select from a range of ones provided. Indeed, there is quite a lot of control over what your completed game or activity will look like.What's more interesting to me, however, is what boxes it ticks if you put it into the hands of youngsters -- and I use the term "youngsters" rather than "children" for reasons which will become apparent
John Evans

About | FreshBrain - 4 views

freshbrain.org/about

technology education resources projects opensource collaboration freshbrain

shared by John Evans on 10 Dec 09 - Cached
  • Technology is advancing at an accelerating rate. Schools are providing teens with a traditional education, but they are unable to keep up with this evolution. Limited individual computer accessibility, minimal hands-on training for teachers, and insufficient technical support are all obstacles many schools face. While the availability of curriculum continues to grow, the lack of time and skills required to select, integrate, and teach with technology continues to be a barrier. In addition, funding to provide updated computers, ongoing maintenance, training and support will always be a challenge. The result is an inability for schools to provide the time, space, or platform for teens to fully utilize technology, either individually or in groups. This lack of integration prevents teens from gaining skills and extending their abilities with technology. Therefore, teens miss the opportunity to find their passion with, or through the use of technology, including the chance to interact with others.
John Evans

5 Reasons Why Educators Should Network - 6 views

www.convergemag.com/...-Educators-Should-Network.html

PLN educators network collaboration networking education reasons

shared by John Evans on 26 Jan 10 - Cached
  • educational isolation is still prevalent in public schools today.
  • Here's why educators should start a personal learning network, or PLN.
  • 1. To learn with others
  • ...4 more annotations...
  • 2. To serve your students
  • 3. To access a dynamic resource
  • 4. To extend your learning base
  • 5. To stay engaged in education
Clint Hamada

The Code of Best Practices in Fair Use for Media Literacy Education -- Publications --... - 7 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
  • 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.
Phil Taylor

Extended Interview: Dr. Mimi Ito | Digital Media - New Learners Of The 21st Century | P... - 5 views

video.pbs.org/1767466274

pbs 21st Century learner social

shared by Phil Taylor on 15 Feb 11 - No Cached
  • Phil Taylor on 15 Feb 11
     
    New Learnersof the 21st Century - How Media transforms play, collaboration. and learning outside of school.
Phil Taylor

The Finland Phenomenon: Learning from the new Tony Wagner film | Connected Principals - 1 views

www.connectedprincipals.com/...3500

finland learning education cpchat film phenomenon

shared by Phil Taylor on 27 May 11 - No Cached
  • Finnish system is praised extraordinarily highly for its global success, and yet students don’t work terribly hard, have many choices, use technology creatively, enjoy the integration of the arts, and learn in a culture which emphasizes depth over breadth and less is more.
  • Students are shown researching and collaborating online in their studies, and many classrooms are shown with a wide array of technological units, not just computers.   Students use wikipedia and facebook when researching very current topics, and Wagner explains that there is a culture of trust that is extended to students in their technology usage.
  • A particularly inspiring moment comes when Wagner reports stumbling across a project at one school, the “Innovation Camp,” in which teams of students are given 26 hours to come up with a new product or service.  
John Evans

W M Net - A Teachers Guide Video Conferencing - 0 views

www.wmnet.org.uk/...homepage.html

videoconferencing teachers guide howto

shared by John Evans on 29 Apr 09 - Cached
  • Video Conferencing is one tool that can be used to extend and enhance the impact on Curriculum Content and delivery The Professional Development of school staff The quality of leadership within schools
  • Video Conferencing enables learners to do things that are hard or impossible to do by other means. Collaborate easily and regularly Be in more than one place at once Link directly to places and resources
  • John Evans on 29 Apr 09
     
    The following materials have been compiled to illustrate practical examples of six powerful considerations for Video Conferencing
John Evans

Jessica Gross: Embracing the Twitter Classroom - 0 views

www.huffingtonpost.com/...-the-twitter-cla_b_204463.html

twitter web2.0 bestpractices technology education

shared by John Evans on 21 May 09 - Cached
  • Rheingold points to five reasons for teaching students social media: Developing students' literacy in our new online environment is as crucial as developing their abilities to read and write. Communication is moving toward social media. We can either help students thrive in this environment or leave them flailing. Many students bring their computers to class. Why not work with this trend instead of fighting or ignoring it? Social media is just that: social. Students who use Twitter for class are "learning collaborative skills that are particularly important today." There is only so much class time. Rheingold makes mini-lectures on video that students comment on between classes, allowing more time to engage the issues through in-class discussion. Shy students who hold back in class often speak up online. "If you can extend the discussion to an online message board, you enable students who may not jump into the discussion," he said, to "make a thoughtful contribution."
tech vedic

EXTENDING YOUR IPOD BATTERY LIFE - 0 views

techvedic.livejournal.com/40664.html

battery life on iphone 3g ipod nano shuffle touch short li

shared by tech vedic on 15 Jul 13 - No Cached
  • tech vedic on 15 Jul 13
     
    Are you a music lover? Love listening to music for hours and hours?? But, your iPod battery is not supporting you. Well, this tutorial will provide you tips and tricks to get the most out of your iPod battery.
John Evans

Giving Students Think Time | Edutopia - 1 views

www.edutopia.org/...extending-silence

thinking questions silence Edutopia learning differentiation

shared by John Evans on 26 Mar 19 - No Cached
  • John Evans on 26 Mar 19
     
    How long do you think teachers pause, on average, after asking a question? Several studies from the 1970s on have looked into the effect that the amount of time teachers pause after asking a question has on learners. In visiting many classrooms in the United States and other parts of the world, I've found that, with few exceptions, these studies are still accurate. For example, according to work done by Mary Budd Rowe in 1972 and Robert J. Stahl in 1994, pausing for three or more seconds showed a noticeable positive impact on learning. Yet the average length that teachers pause was found to be 0.9 seconds. Wow.
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