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John Evans

The Daring Librarian: The Zen of Coloring - 1 views

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    "I have to admit when I first heard about how coloring books for adults and teens are all the rage, I was a bit skeptical. Then I saw the beautiful new coloring books with loopy, fabulous, mesmerizing line drawings and I was sold! I also just really like the smell of a new box of Crayons! Like PlayDoh, they smell happy. Don't judge me. I then did some research on the Zen of Coloring and found out that teens find coloring very relaxing, meditative, and stress relieving - perfect for middle school! I also think in this world of multi-tasking, coloring keeps our hands busy and let's our mind wander free- it's also related to another hot topic mindfulness. I know that when I'm in a group setting without technology, say a staff-meeting, a conference, or a lecture, I find myself doodling and making line drawings. Always have - do you?"
John Evans

The Techie Teacher: MakerFest: Ideas for Your Makerspace - 0 views

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    "Shannon Hyman, a librarian at one of our elementary schools, invited #TechTakeout to her AMAZING MakerFest Day to run ten different stations. Each one of the stations highlighted a tool that the students would have access to in her library. Every 4th and 5th grade student had the opportunity to attend the event and learn about each tool. The students had about 5-8 minutes at each station since we wanted everyone to get a chance to see everything. This was enough time to introduce the tool, but in some cases the students had a hands-on experience. Judging from what the students were saying throughout the day, when we return from winter break they will be rushing to the library to work with all of the new tools!"
Nigel Coutts

Why might we want to learn Digital Technologies? - The Learner's Way - 1 views

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    Understanding the "Why" of any initiative should be a key step prior to implementation. Without a clear understanding of our "Why" how are we to judge the success of what we are implementing. How will we know which steps take us in the right direction if we have no concept of why we are journeying. In our implementation of ICT (Information & Communication Technologies) and now Digital Technologies, a lack of clarity on the matter of "Why" has often been the most significant challenge to success. 
John Evans

Citizen Maths - Free online Level 2 maths course for adults - 0 views

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    "Citizen Maths is for people who want to improve their grasp of maths, and become more confident in using maths at work and in life. Maths may have passed you by at school. Or you may be rusty. Maybe you've passed maths exams but find it hard to apply what you know to the types of problem you need to solve now. Problems like using spreadsheets, judging amounts or assessing odds. If so, then Citizen Maths may be for you. The course is at 'Level 2' - the level that a 16-year-old school leaver is expected to achieve in maths. (For questions about certification, please see our FAQ.) The course is based on solving the kinds of problems that come up at work and in life. And it is free. All you need is access to a computer, the internet and a basic grasp of maths. Sign up straight away, or try our nine-point check-list to see if Citizen Maths can help you."
John Evans

Lisa Nielsen: The Innovative Educator: Podcast Playlist - 10 Podcasts for Innovative Ed... - 0 views

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    "While some people Netflix bindged during the pandemic, I choose another form of entertainment: Podcasts. Podcasts are great for multitaskers like me. Whether you're jogging, cleaning, driving, flying, doing yoga (don't judge me) or out walking your dog, a podcast provides a great way to keep the learning going while you're doing something else. Check out the playlist below to see what I'm listening to these days."
Phil Taylor

Turning Students into Good Digital Citizens -- THE Journal - 5 views

  • technology is evolving so quickly that a standard set of skills is hard to set in stone.
  • "We do have a sense of what [digital communication] skills should be," Kahne says. "The ability to find information, for example, has always been on the list. Also, the ability to judge the credibility of information. But now we're seeing things like the ability to present information online in compelling ways emerging as another basic skill of the digital citizen."
John Evans

Marble Math - App Review - Geeks With Juniors - 0 views

  • Marble Math is a fun app for practicing basic math skills. The app is best when used as a companion rather than a primary app, as it doesn't explain math concepts and merely sharpens them. Content-wise, the app is geared towards older juniors. The developers specifically mention that the app is designed for kids aged 9 to 12+, and judging from the problem sets, I agree with them. If you have younger juniors, I would suggest getting Marble Math Junior instead, which has the same gameplay but easier problem sets.
Phil Taylor

Lisa Nielsen: The Innovative Educator: Screentime - Focus On Quality, Not Quantity - 0 views

  • The problem is that screens have been misunderstood by society and even by organizations like the APA. This was uncovered earlier this year when APA member Dimitri Christakis revealed that their research was conducted before anyone knew the iPad, or similar interactive screen devices, existed
  • Would we ever discuss limiting book time? Would we ever tell children they’re spending too much time learning? Would we say think critically, but only in moderation
  • What’s important is that we stop judging screens and start looking at and guiding young people in their use of screens
Reynold Redekopp

The Atlantic :: Magazine :: What Makes a Great Teacher? - 7 views

  • Right away, certain patterns emerged. First, great teachers tended to set big goals for their students. They were also perpetually looking for ways to improve their effectiveness. For example, when Farr called up teachers who were making remarkable gains and asked to visit their classrooms, he noticed he’d get a similar response from all of them: “They’d say, ‘You’re welcome to come, but I have to warn you—I am in the middle of just blowing up my classroom structure and changing my reading workshop because I think it’s not working as well as it could.’ When you hear that over and over, and you don’t hear that from other teachers, you start to form a hypothesis.” Great teachers, he concluded, constantly reevaluate what they are doing. Superstar teachers had four other tendencies in common: they avidly recruited students and their families into the process; they maintained focus, ensuring that everything they did contributed to student learning; they planned exhaustively and purposefully—for the next day or the year ahead—by working backward from the desired outcome; and they worked relentlessly, refusing to surrender to the combined menaces of poverty, bureaucracy, and budgetary shortfalls. But when Farr took his findings to teachers, they wanted more. “They’d say, ‘Yeah, yeah. Give me the concrete actions. What does this mean for a lesson plan?’” So Farr and his colleagues made lists of specific teacher actions that fell under the high-level principles they had identified. For example, one way that great teachers ensure that kids are learning is to frequently check for understanding: Are the kids—all of the kids—following what you are saying? Asking “Does anyone have any questions?” does not work, and it’s a classic rookie mistake. Students are not always the best judges of their own learning. They might understand a line read aloud from a Shakespeare play, but have no idea what happened in the last act.
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    Overview of the Teach for America program results. Great teachers set big goals for students, constantly look for ways to improve, involve students and families, maintain focus on goals and plan relentlessly.
Phil Taylor

Time for debate on how Twitter, Facebook affect courts says Ontario's AG - Winnipeg Fre... - 0 views

  • Edelson said he'd like to see a forum where senior journalists, judges and lawyers could get together and "throw around ideas" about whether social media tools should be controlled inside the courtroom.
Jo Richards

Trouble with Rubrics - 0 views

  • “we need to look to the piece of writing itself to suggest its own evaluative criteria” – a truly radical and provocative suggestion.
    • Jo Richards
       
      Wow, nice concept. Getting further into subjectivity though. Where do we get an understanding of how to determine a pieces distinct 'evaluative criteria'
  • Thus, the dilemma:  Either our instruction and our assessment remain “out of synch” or the instruction gets worse in order that students’ writing can be easily judged with the help of rubrics.
  • In fact, when the how’s of assessment preoccupy us, they tend to chase the why’s back into the shadows.
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  • We have to reassess the whole enterprise of assessment, the goal being to make sure it’s consistent with the reason we decided to go into teaching in the first place.
John Evans

Japanese Private School to issue cell phone to every student - GIGAZINE - 0 views

  • While there are many schools prohibiting the possession of cellphone, the board judged it more important to educate the proper usage than to ban it.
    • John Evans
       
      Can we haver a collective "YES" to this admission?? John Evans
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.
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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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