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John Evans

Smog City - 6 views

  • Smog City is an interactive air pollution simulator that shows how your choices, environmental factors, and land use contribute to air pollution.
Scot Evans

Study: class podcasts can lead to better grades - Ars Technica - 0 views

  • Clearly, the note-taking factor contributed to the overall scores. As someone who was in college before podcasting became popular but after sending students home with PowerPoint printouts became all the rage, I know from experience that many students think that printed slides are merely notes in prepackaged form.
  • McKinney acknowledged that the students who downloaded the podcast simply seemed to do better with taking notes and paying closer attention to what was being said, as they were able to go back and repeat parts of the lecture they had trouble understanding. "It isn't so much that you have a podcast, it's what you do with it," she told New Scientist.
  • As for whether podcasts can replace professors, McKinney stops short of suggesting that all classrooms become virtual. She refers to them as a supplemental tool to a traditional lecture that can help students gain a better understanding of the material and also help free up professors from answering repetitive questions. The takeaway? Go to class, take notes, listen to the podcast, and take more notes.
John Evans

eLearn: Feature Article - 0 views

  • Every year at this time we turn to the experts in our field to share their predictions on what lies ahead for the e-learning community. While our colleagues here unanimously agree the global economic downturn is the overwhelming factor coloring their forecasts, they do see a great array of opportunities and challenges in the coming 12 months. Their insights never fail to inspire further discussion and hope. Here's what our experts have to say this year:
  • 2009 is the year when the cellphone—not the laptop—will emerge as the learning infrastructure for the developing world. Initially, those educational applications linked most closely to local economic development will predominate. Also parents will have high interest in ways these devices can foster their children's literacy. Countries will begin to see the value of subsidizing this type of e-learning, as opposed to more traditional schooling. The initial business strategy will be a disruptive technology competing with non-consumption, in keeping with Christensen's models. —Chris Dede, Harvard University, USA
  • During the coming slump the risk of relying on free tools and services in learning will become apparent as small start-ups offering such services fail, and as big suppliers switch off loss-making services or start charging for them. The Open Educational Resources (OER) movement will strengthen, and will face up to the "cultural" challenges of winning learning providers and teachers to use OER. Large learning providers and companies that host VLEs will make increasing and better use of the data they have about learner behavior, for example, which books they borrow, which online resources they access, how long they spend doing what. —Seb Schmoller, Chief Executive of the UK's Association for Learning Technology (ALT), UK
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  • Online learning tools and technologies are becoming less frustrating (for authoring, teaching, and learning) and more powerful. Instructional content development can increasingly be done by content experts, faculty, instructional designers, and trainers. As a result, online content is becoming easier to maintain. Social interaction and social presence tools such as discussion forums, social networking and resource sharing, IM, and Twitter are increasingly being used to provide formal and informal support that has been missing too long from self-paced instruction. I am extremely optimistic about the convergence of "traditional" instruction and support with technology-based instruction and support. —Patti Shank, Learning Peaks, USA
  • In 2009 learning professionals will start to move beyond using Web 2.0 only for "rogue," informal learning projects and start making proactive plans for how to apply emerging technologies as part of organization-wide learning strategy. In a recent Chapman Alliance survey, 39 percent of learning professionals say they don't use Web 2.0 tools at all; 41 percent say they use them for "rogue" projects (under the radar screen); and only 20 percent indicate they have a plan for using them on a regular basis for learning. Early adopters such as Sun Microsystems and the Peace Corp have made changes that move Web 2.0 tools to the front-end of the learning path, while still using structured learning (LMS and courseware) as critical components of their learning platforms. —Bryan Chapman, Chief Learning Strategist and Industry Analyst, Chapman Alliance, USA
John Evans

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John Evans

Readicide - Stenhouse Publishers - 6 views

  • Read-i-cide n: The systematic killing of the love of reading, often exacerbated by the inane, mind-numbing practices found in schools. Reading is dying in our schools. Educators are familiar with many of the factors that have contributed to the decline — poverty, second-language issues, and the ever-expanding choices of electronic entertainment. In this provocative new book, Kelly Gallagher suggests, however, that it is time to recognize a new and significant contributor to the death of reading: our schools.
John Evans

Is Subject Matter Expertise Enough for Successful Teaching? - Walt Gardner's Reality Ch... - 1 views

  • If knowledge of subject matter were the most important factor in delivering a quality education, then professors with doctorates and a long list of publications in their field would make ideal candidates for K-12, as I wrote in a letter to the editor published in the Los Angeles Times on Dec. 3 ("You get what you pay for"). After all, they certainly possess expertise in their subject. But what most of them lack is pedagogical competence. That's why they wouldn't last very long in a public school classroom.
John Evans

What if Finland's great teachers taught in U.S. schools? - The Washington Post - 0 views

  • In many under-performing nations, I notice, three fallacies of teacher effectiveness prevail.
  • The first belief is that “the quality of an education system cannot exceed the quality of its teachers.”
  • The second fallacy is that “the most important single factor in improving quality of education is teachers.” 
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  • The third fallacy is that “If any children had three or four great teachers in a row, they would soar academically, regardless of their racial or economic background, while those who have a sequence of weak teachers will fall further and further behind”.
  • Lessons from high-performing school systems, including Finland, suggest that we must reconsider how we think about teaching as a profession and what is the role of the school in our society.
  • First, standardization should focus more on teacher education and less on teaching and learning in schools.
  • Second, the toxic use of accountability for schools should be abandoned.
  • Third, other school policies must be changed before teaching becomes attractive to more young talents.
Dennis OConnor

ALA | Interview with Keith Curry Lance - 0 views

  • A series of studies that have had a great deal of influence on the research and decision-making discussions concerning school library media programs have grown from the work of a team in Colorado—Keith Curry Lance, Marcia J. Rodney, and Christine Hamilton-Pennell (2000).
  • Recent school library impact studies have also identified, and generated some evidence about, potential "interventions" that could be studied. The questions might at first appear rather familiar: How much, and how, are achievement and learning improved when . . . librarians collaborate more fully with other educators? libraries are more flexibly scheduled? administrators choose to support stronger library programs (in a specific way)? library spending (for something specific) increases?
  • high priority should be given to reaching teachers, administrators, and public officials as well as school librarians and school library advocates.
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  • Perhaps the most strategic option, albeit a long-term one, is to infiltrate schools and colleges of education. Most school administrators and teachers never had to take a course, or even part of a course, that introduced them to what constitutes a high-quality school library program.
  • Three factors are working against successful advocacy for school libraries: (1) the age demographic of librarians, (2) the lack of institutionalization of librarianship in K–12 schools, and (3) the lack of support from educators due to their lack of education or training about libraries and good experiences with libraries and librarians.
  • These vacant positions are highly vulnerable to being downgraded or eliminated in these times of tight budgets, not merely because there is less money to go around, but because superintendents, principals, teachers, and other education decision-makers do not understand the role a school librarian can and should play.
  • If we want the school library to be regarded as a central player in fostering academic success, we must do whatever we can to ensure that school library research is not marginalized by other interests.    
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    A great overview of Lance's research into the effectiveness of libraries.  He answers the question: Do school libraries or librarians make a difference?  His answer (A HUGE YES!) is back by 14 years of remarkable research.  The point is proved.  But this information remains unknown to many principals and superintendents.  Anyone interested in 21st century teaching and learning will find this interview fascinating.
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The Code of Best Practices in Fair Use for Media Literacy Education -- Publications --... - 8 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.
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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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