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John Evans

Educator Resources | Agency by Design - 0 views

www.agencybydesign.org/educator_resource

maker thinking strategies systems teaching research-based makerspace

shared by John Evans on 18 Jun 15 - No Cached
  • A key goal of maker-centered education is to help young people and adults feel empowered to build and shape their worlds. Acquiring this sense of maker empowerment is strongly supported by learning to notice and engage with the designed dimension of one’s physical and conceptual environment—in other words, by having a sensitivity to design. This sensitivity develops when young people and adults have opportunities to: look closely and reflect on the design of objects and systems, explore the complexity of design, and understand themselves as designers of their worlds.
  • John Evans on 18 Jun 15
     
    "A key goal of maker-centered education is to help young people and adults feel empowered to build and shape their worlds. Acquiring this sense of maker empowerment is strongly supported by learning to notice and engage with the designed dimension of one's physical and conceptual environment-in other words, by having a sensitivity to design. This sensitivity develops when young people and adults have opportunities to: look closely and reflect on the design of objects and systems, explore the complexity of design, and understand themselves as designers of their worlds."
John Evans

26 Keys to Student Engagement - 8 views

www.scribd.com/...26-Keys-to-Student-Engagement

student engagement keys learning

shared by John Evans on 24 Sep 10 - No Cached
  • John Evans on 24 Sep 10
     
    by Angela Maiers
John Evans

The National Archives Learning Curve - UK - 0 views

www.learningcurve.gov.uk/default.htm

curve learning history

shared by John Evans on 09 Jan 09 - Cached
  • Learning Curve is a free online resource for teaching and learning history. It follows the National Curriculum for key stages 2 to 5.
  • Teachers will find original documents, photographs and film from The National Archives, supported with background information, worksheets and lesson plans.
  • Students will find games and activities for thinking and learning about our past, and advice on studying and revision
  • John Evans on 09 Jan 09
     
    Learning Curve is a free online resource for teaching and learning history. It follows the UK National Curriculum for key stages 2 to 5.
John Evans

Education Week: Scholars Identify 5 Keys to Urban School Success - 3 views

www.edweek.org/...19ccsr.h29.html

scholars school success educationweek

shared by John Evans on 26 Jan 10 - Cached
  • John Evans on 26 Jan 10
     
    "Scholars Identify 5 Keys to Urban School Success"
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.
John Evans

This class may be the key to lowering depression in middle school | Deseret News National - 0 views

national.deseretnews.com/...pression-in-middle-school.html

PE class key lowering depression middle school students

shared by John Evans on 28 Aug 14 - No Cached
  • John Evans on 28 Aug 14
     
    "Researchers at the American Psychological Association found that preventing depression in the sixth grade, via gym class and recess, can stave off depression throughout the rest of adolescence. Depression is the third leading cause of death and the number one leading cause of disability in teens. The study found that there is a significant association between the onset of depression in the sixth grade and depression in later teen years."
John Evans

Presentation Zen: The key to storytelling is not your perfection but your humanity - 0 views

www.presentationzen.com/...fection-but-your-humanity.html

presentation zen key storytelling perfection humanity

shared by John Evans on 27 Aug 14 - No Cached
  • John Evans on 27 Aug 14
     
    "The Irish Times has a good, short piece on The Moth, the not-for-profit organization dedicated to the art and craft of storytelling. The Moth started in George Dawes Green's living room in 1997, but soon the storytelling club founded by Green started hosting events in cafes and clubs throughout New York City. The name "The Moth" came from the idea that people are attracted to stories the way moths are attracted to a flame. From The Moth website: "Each show starts with a theme, and the storytellers explore it, often in unexpected ways. Since each story is true and every voice authentic, the shows dance between documentary and theater, creating a unique, intimate, and often enlightening experience for the audience." The storytellers are usually novice storytellers who have something interesting to share. Yet, The Moth directors work with the speakers before each show to help them find their stories and shape them. The focus is on meaning and quality but also on naturalness and authenticity, therefore, no notes or scripts are allowed. "
John Evans

Breaking Down the 8 Key Concepts of Computational Thinking - Digital Promise - 1 views

digitalpromise.org/...epts-of-computational-thinking

key concepts computational thinking

shared by John Evans on 06 May 19 - No Cached
  • John Evans on 06 May 19
     
    "Across the United States and around the world, educators are being called on to help their students prepare for futures in an increasingly computational world. Integrating computational thinking into activities, lessons, and curricula not only supports building new skills, but also enhances learning and engagement in every discipline. However, there are still many more educators who do not feel comfortable with computational thinking concepts than those who do."
John Evans

When Should Students Use Artificial Intelligence? Seven Keys to Consider - John Spencer - 0 views

spencerauthor.com/ts-use-artificial-intelligence

john spencer AI school students

shared by John Evans on 08 Feb 24 - No Cached
  • John Evans on 08 Feb 24
     
    "The explosion of generative AI has created significant challenges and sparked new opportunities for our students. So, how do we decide when students should and should not use AI? In this article and podcast, I explore seven key areas you might consider as you craft the policies and design the systems within your school."
John Evans

iPads at Burley: Back to the Beginning - 0 views

ipadsatburley.blogspot.ca/...back-to-beginning.html

ipads beginning instruction implementation

shared by John Evans on 08 Oct 12 - No Cached
  • John Evans on 08 Oct 12
     
    "Even though it's October it still feels very much like the beginning of the year. One of the first thoughts that many teachers have about their students is "they look so little!" It's true. Those tall confident students that left us have gone on to be "little" to next year's teacher and we have our own new crop of "little" people to educate. This becomes even more pronounced in a technology classroom. Everything takes longer, typing, starting, opening, finding, searching. Whatever it is they need time to figure it out. Patience is key. So what can we do?"
John Evans

What is the future for learning? [Short Documentary] - 7 views

www.avatargeneration.com/...-of-learning-short-documentary

future learning documentary

shared by John Evans on 11 Dec 12 - No Cached
  • John Evans on 11 Dec 12
     
    "GOOD is a global community of, by, and for pragmatic idealists working towards individual and collective progress. They have created a great documentary on the views of key educators on what they think the future of learning is. There are some positive examples of using educational technology and how it can be a powerful pedagogical tool."
John Evans

What's the Difference Between "Doing Projects" and "Project Based Learning"? | TeachBytes - 11 views

teachbytes.com/...cts-and-project-based-learning

pbl project based learning

shared by John Evans on 18 Mar 13 - No Cached
  • John Evans on 18 Mar 13
     
    "Thanks to Amy Mayer of FriEdTechnology for this fantastic comparison describing the key differences between "doing projects" and project-based learning! This, my friends, is exactly what I have been trying so ineptly to explain to educators at my own school. There's a BIG difference, and one that completely changes how the classroom is run and what students take out of it."
John Evans

Educreations: Adding Value to the Classroom - Getting Smart by Adam Renfro - crowdsourc... - 0 views

gettingsmart.com/...-adding-value-to-the-classroom

crowdsourcing flipping production youtube

shared by John Evans on 31 Mar 13 - No Cached
  • John Evans on 31 Mar 13
     
    "Educreations is a recordable interactive whiteboard that captures your voice, handwriting, typed text, and images. The final product is a cool video lesson that teachers can share with students. This is both a web-based app and iPad app. The cost: Free! With Educreations, students can replay a teacher's lesson online on or their iPads as often as the need to master the content. It also takes the camera off the instructor and turns the focus toward the content, and the content is key, right? It's like a video of your chalkboard or smartboa"
John Evans

A Media Specialist's Guide to the Internet: 30 iPad Tips and Tricks - 3 views

mediaspecialistsguide.blogspot.ca/...30-ipad-tips-and-tricks.html

media specialist guide internet ipad tips tricks

shared by John Evans on 21 May 13 - No Cached
  • John Evans on 21 May 13
     
    "APP GROUPS Create app groups that consolidate up to 20 apps into one convenient group. (Works just like a folder) Tap and hold an app. Once you see the icons start jiggling, move the app on top of another app. Name your group whatever you would like and place up to 20 apps within it. BOOKMARK FAVORITE WEBSITES TO THE HOME PAGEWhile on the Internet, (using Safari) load up your favorite websites. Tap on the box with an arrow in it, alongside the URL Bar. Select "Add to Home Screen" and give each site a short name so it doesn't abbreviate itself. CAPS LOCK Double tap the shift key for caps lock. Tap once to turn it off. CHANGE NOTES FONT The default in notes looks like comic sans, which I detest. Go to Notes in Settings and choose from three fonts. CREATE A TOUGHER PASSWORD"
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