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John Evans

A List of Great Math Apps for your iPad - 2 views

www.educatorstechnology.com/...math-apps-for-ipad.html

iPad apps math ipads maths education Mathematics

shared by John Evans on 11 Oct 12 - No Cached
  • John Evans on 11 Oct 12
     
    "So you are looking for some good Math apps to install on your kids iPad or to share with your students, well you are in the right place. Educational Technology and Mobile Learning has just compiled a list of some awesome Math apps that both teachers and students can use to improve Math learning and teaching. All of the apps mentioned below have been meticulously reviewed and are all working properly."
Phil Taylor

Education Rethink: Classroom Leadership: From Compliant Kids to Ethical Thinkers - 3 views

www.educationrethink.com/...leadership-from-compliant.html

education classroom leadership ethical thinkers

shared by Phil Taylor on 03 Jun 12 - No Cached
  • The experience mentioned before reinforces some fundamental truths about what it means to lead a student rather than simply manage a class
John Evans

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

www.geekswithjuniors.com/...marble-math.html

app review geeks marble math MY

shared by John Evans on 02 Sep 12 - No Cached
  • 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

Why the Facebook Group My Students Created for Themselves is Better than the ... - 2 views

andrewdouch.wordpress.com/...myclassfacebookgroup

facebook digital education

shared by Phil Taylor on 24 Nov 11 - No Cached
  • It bears mentioning, too, that it’s not necessary to “friend” students in order to interact with them in a group.  Furthermore, if the group is set up as a “closed” group, as ours is, then access is restricted to people who are invited by the group to join, as I was.
John Evans

There's millions in those Minecraft blocks - 3 views

www.macleans.ca/...ions-in-those-minecraft-blocks

minecraft blocks millions income

shared by John Evans on 16 Jul 14 - No Cached
  • 35 million copies, with nearly 100 million players worldwide,
John Evans

Free Technology for Teachers: Visible Body - 3D Human Anatomy - 0 views

www.freetech4teachers.com/...ble-body-3d-human-anatomy.html

VisibleBody Science Health anatomy EY MY SY

shared by John Evans on 09 Feb 09 - Cached
  • The Visible Body is a fantastic, free, program that allows your students to virtually explore all systems of the human body. I first learned about the Visible Body through Kevin Jarrett's blog, he used the program with a 4th grade class, but the Visible Body could just as well be used in a high school setting. In fact, the reason that I thought about the Visible Body today is that a science teacher in my school mentioned that she has used it with her anatomy students.
  • To use the Visible Body you need to install the Unity Web Player for Mac or PC. Once installed you can explore all of the systems of the body. The Visible Body allows students to view bones, muscles, and organs from various perspectives and see how the parts of the body work together as a system.
  • Update: Kevin Jarrett reminds us in the comments that if you're going to use Visible Body with younger students be aware that Visible Body is 100% anatomically correct. In that case it's probably best to use Visible Body as a teacher-directed exercise and not a individualized activity.
  • John Evans on 09 Feb 09
     
    Free Anatomically correct 3d Human Anatomy site. Kevin Jarrett reminds us in the comments that if you're going to use Visible Body with younger students be aware that Visible Body is 100% anatomically correct. In that case it's probably best to use Visible Body as a teacher-directed exercise and not a individualized activity.
John Evans

Samepoint Social Conversation Search | Social Mentions - 0 views

www.samepoint.com

search samepoint conversation searchengine social track Social Media social media search

shared by John Evans on 20 Mar 09 - Cached
  • Social Media search Samepoint is a conversation search engine that lets you see what people are talking about.Discover, learn and share new web sites and ideas.
  • John Evans on 20 Mar 09
     
    Social Media search Samepoint is a conversation search engine that lets you see what people are talking about. Discover, learn and share new web sites and ideas.
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

It's not an assignment, it's a creative brief - Teach42 - 0 views

www.teach42.com/...ssignment-its-a-creative-brief

teach42 assignments technology learning

shared by John Evans on 23 May 09 - Cached
  • hey were describing how technology can be seemless in the classroom, not something you teach, but something that just… is. And one thing that they mentioned (I think it was Ben), was that he doesn’t feel like he gives assignments anymore, he gives creative briefs.
John Evans

Layout Cheat Sheet for Infographics : Visual arrangement tips - 4 views

piktochart.com/best-out-of-visual-arrangement

infographics design piktochart

shared by John Evans on 26 Feb 15 - No Cached
  • John Evans on 26 Feb 15
     
    "[This is part of the Infographic Design Series. Check out the other posts!] Good visual arrangement for infographics is putting together graphic and visual elements in a manner that draws your reader's attention. The key to achieving simple, elegant and attractive content are ample whitespace and a well arranged layout. What is whitespace? White space is as its name defined-space that is unmarked in a piece of infographic or visual representation. It could be margins, padding or the space between columns, text and icons and design elements. Whitespace matters to create visually engaging content A page crammed full of text and images will appear busy. This makes the content difficult to read. It makes you unable to focus on the important stuff too. On the other hand, too much of white space can make your page look incomplete. It is always crucial to remember visually engaging content is usually clean and simple. Here's an example of what I mean. whitespace-matters Understanding common infographics layouts help ease visual arrangement Infographic layouts refer to the arrangement of your visual elements and your content. When you begin working on a piece of infographic, you should have a story to tell hence, you will need to select a layout that best suits your story. Using the right layout will ensure good readability and convey your message well. We have put together a cheat sheet for your quick reference to the right arrangement to use, here are six common ones you can quickly work with. Infographic Layout Cheat Sheet Useful Bait: Works well with most types of data. Rather than focusing on design, it works more for practicality, thus making it easy to read. For instance, a reference sheet where you can print it out and use it over and over again. If your content has many subtopics to a main subject, this layout enables you to segregate them into clean chunks that are easy to consume. Versus/Comparison: This layout is typically split vertically to
glen gatin

ICT for Teachers - 126 views

Glen I am a teacher in Manitoba, using ICT as much as possible. Just wondering if the ICT for teachers course will be offered again. glen gatin wrote: > Hi John and group. I was pleased to stu...

started by glen gatin on 10 Oct 08 3 follow-ups, last by glen gatin on 31 Jan 09
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