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John Evans

Brain-Based Strategies to Reduce Test Stress | Edutopia - 0 views

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    "We live in a stressful world, and the stress is heightened for students and educators when it's time to prepare for high-stakes tests. When test scores are tied to school funding, teacher evaluations, and students' future placement, the consequences of these stressors can be far-reaching. From a neurological perspective, high stress disrupts the brain's learning circuits and diminishes memory construction, storage, and retrieval. Neuroimaging research shows us that, when stresses are high, brains do not work optimally, resulting in decreased understanding and memory. In addition, stress reduces efficient retrieval of knowledge from the memory storage networks, so when under pressure students find it harder to access information previously studied and learned. Get the best of Edutopia in your inbox each week. Students (and their parents) often interpret suboptimal standardized test scores as a measure of the students' limitations in intelligence and potential. The consequence is a loss of confidence, further activating their brains' stress response, making it more difficult for them to employ their cognitive resources and knowledge during the tests themselves."
John Evans

Why Computer Science Belongs in Every Science Teacher's Classroom | EdSurge News - 1 views

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    "Released in 2013, the NGSS was created to align science education with how scientists actually work and think. It encourages students to learn science content and concepts deeply by using critical thinking and primary investigation skills. Adopted by 18 states (with as many as 40 interested and in the process), the standards define science education through core concepts (such as wave properties), practices (like analyzing and interpreting data ) and crosscutting concepts (like cause-and-effect). Some of the NGSS guidelines directly overlap with the practices listed in the K-12 Computer Science framework and the new CSTA Computer Science standards. Here's a doodle that illustrates how the two subjects overlap. "
Nigel Coutts

Exploring the Changing Social Contexts of Learning - The Learner's Way - 0 views

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    Understanding how mobile, global and virtual social networks influence our interpretation of socio-cultural theories of learning might allow us to better understand the interplay of settings and contexts within which learning occurs and in doing so better understand how learning may be facilitated.
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

STEM Needs to Be Updated to STREAM | Rob Furman - 1 views

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    "In 2006 there was a term that started to grow in the United States-- STEM education (Science, Technology, Engineering and Math). The basis of the STEM movement was the growing concern that our students were not prepared for the high-tech jobs of the future. Just a year later a well-know researcher, Georgette Yakman, announced the need to include the arts in STEM programs; thus STEM became STEAM. Georgette took the inclusion of the arts and expanded on how it relates to the other STEM subjects. Her well-know quote is "Science and technology, interpreted through engineering and the arts, all based in elements of mathematics." This is a rich beginning to our dive into the 21st century job market... but! We have lost sight of one very important aspect of our education and all jobs, be they high-tech, low-tech, or no-tech. What about the importance of reading? Without the ability to read and write, there is not a job to be found for which STEM or STEAM education is going to be enough preparation. ELA, or English Language Arts, is a critical component of the core standards. There are also standards that help reference reading and writing for science and the technical subjects. The notion seems to be that reading is still a critical element in any student's success. Why not give it its proper place... STEM to STEAM to STREAM, standing for Science, Technology, Reading, Engineering, Arts and Math. "
Phil Taylor

Blended learning: The great new thing or the great new hype? - The Washington Post - 0 views

  • then it must be highly relational, active and inquiry oriented (both online and offline), and commit to empowering students with digital tools.
  • Blended learning is not a new term nor a revolutionary concept for classrooms in this second decade of the 21st century. However, the way it is being (re)interpreted could be hopeful or harmful depending on how it is implemented.
Wendy Windust

21st Century Literacies: Tools for Reading the World - 0 views

  • n Intelligence Reframed Howard Gardner contends that "literacies, skills, and disciplines ought to be pursued as tools that allow us to enhance our understanding of important questions, topics, and themes." Today's readers become literate by learning to read the words and symbols in today's world and its antecedents. They analyze, compare, evaluate and interpret multiple representations from a variety of disciplines and subjects, including texts, photographs, artwork, and data. They learn to choose and modify their own communication based on the rhetorical situation. Point of view is created by the reader, the audience and the medium.
Carla Shinn

Beyond the Book: Infographics of Students' Reading History - 0 views

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    "Recently, I've also been fascinated by the way the human mind interprets visual symbols. From doodling to reading and writing text, the brain is wired with a proclivity for visual sensory ability. In order to help students harness this power, we have been trying our hand at visual notes and sketchnoting in class. Then I decided to try some lessons with infographics."
John Evans

Screens Might Be as Bad for Mental Health as … Potatoes | WIRED - 3 views

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    "In the latest issue of Nature Human Behavior, Przybylski and coauthor Amy Orben use a novel statistical method to show why scientists studying these colossal data sets have been getting such different results and why most of the associations researchers have found, positive and negative, are very small-and probably not worth freaking out about."
duhome01

dark green velvet accent chair - 1 views

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    As an eclectic city with easygoing vibe, Denver has been perfectly interpreted with Duhome's techniques to bring you a new surprise. Our designers help express its urban excitement and rich western heritage with rhombus-motif backrest, soft velvet and golden plating. DUHOME has velvet occasional chair for our customers.
Clint Hamada

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.
  • ...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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