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Dennis OConnor

YouTube - RSA Animate - Changing Education Paradigms - 0 views

  • This animate was adapted from a talk given at the RSA by Sir Ken Robinson, world-renowned education and creativity expert and recipient of the RSA's Benjamin Franklin award.For more information on Sir Ken's work visit: http://www.sirkenrobinson.com
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    This is an amazing illustration of Sir Kenneth Robinson's presentation on schooling in the 21st century.  It's fascinating to watch an illustrator create a visual map of Robinson's ideas as they are spoken.  The content of the presentation is enormously important to any educator struggling to change the system.  It's even more important to those who've been subdued and mislead by old ideas into thinking they can't learn or create.
John Evans

Building Learning Keynote - Making the Case for Making in Schools | K12 Online Conferen... - 0 views

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    "Presentation Title: Building Learning Keynote - Making the Case for Making in Schools Presentation Description: The Maker Movement is a revolutionary global collaboration of people learning to solve problems with modern tools and technology. Adults and children are combining new technologies and timeless craft traditions to create exciting projects and control their world. The implications are profound for schools and districts concerned with engaging students, maintaining relevance, and preparing children to solve problems unanticipated by the curriculum. The technological game-changers of 3D printing, physical computing and computer science require and fuel transformations in the learning environment. K-12 educators can adapt the powerful technology and "can do" maker ethos to revitalize learner-centered teaching and learning in all subject areas."
John Evans

Minecraft across the curriculum: K-6. | Lee Hewes - 0 views

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    "A few weeks ago I presented at a teachmeet at the the Sydney Powerhouse Museum, AKA the Museum of Applied Arts and Sciences. The topic was STEM (Science, Technology, Engineering and Mathematics) + X (STEM+X). The idea was to share some of the things you have done and/or are doing in your classroom or workplace around integrating STEM with other KLAs, for example, a STEM and PE project would be STEM + PE. When I was asked to present, I thought it would be a great opportunity to share how I've been using Minecraft in my classroom over the last few years and how it really can be used across all subject areas. Just like the 'play' within the game itself, what you do with it in the classroom is only limited by your own creativity and that of your students. Below I will share some of the cool things that my students and i have done and how they link to KLAs across the curriculum."
John Evans

20 Strategies for Motivating Reluctant Learners | MindShift | KQED News - 0 views

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    "Kathy Perez has decades of experience as a classroom educator, with training in special education and teaching English language learners. She also has a dynamic style. Sitting through her workshop presentation with like being a student in her classroom. She presents on how to make the classroom engaging and motivating to all students, even the most reluctant learners, while modeling for her audience exactly how she would do it. The experience is a bit jarring because it's so different from the lectures that dominate big education conferences, but it's also refreshing and way more fun. Perez says when students are engaged, predicting answers, talking with one another and sharing with the class in ways that follow safe routines and practices, they not only achieve more but they also act out less. And everyone, including the teacher, has more fun. "If we don't have their attention, what's the point?" Perez asked an audience at a Learning and the Brain conference on mindsets. She's a big proponent of brain breaks and getting kids moving around frequently during the day. She reminded educators that most kids' attention spans are about as long in minutes as their age. So a third-grader can concentrate for about eight minutes before losing interest. It's a teacher's job to make sure there are lots of quick, effective brain breaks built into the lesson to give children a moment to recalibrate. Perez says teachers must be prepared for a diverse cross section of learners with a large toolkit of strategies for teaching in multiple modalities, with many entry points to participation and content."
John Evans

Maker Ed: The work and the impact | K12 Online ConferenceK12 Online Conference - 2 views

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    "Presentation Title: Maker Ed: The work and the impact Presentation Description: The maker education movement carries with it the momentum and promise to transform education - and ultimately, how we view learning and teaching altogether. It brings together elements of various educational pedagogies and practices, historical movements, and current trends, engaging all youth in interdisciplinary, hands-on learning experiences that are reflective and purposeful. Maker Ed, a non-profit organization that works with educators, organizations, and communities nationwide, help to train, support, and connect educator's efforts to integrate making into their educational approaches and make a deep, long-lasting impact on their youth."
John Evans

16 Ideas for Student Projects using Google Docs, Slides, and Forms | Cult of Pedagogy - 2 views

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    "As you probably know, Google Drive is far more than a place to store files online. It also includes a suite of versatile creation tools, many of which perform the same functions as the ones we use in other spaces. These include Google Docs, a word processing program that behaves similarly to Microsoft Word, Google Slides, a presentation program similar to PowerPoint, and Google Forms, a survey-creation tool similar to Survey Monkey. Although Drive also includes other tools, these three are particularly useful for creating rigorous, academically robust projects. If your school uses Google Classroom or at least gives students access to Google Drive, your students are probably already using these tools to write papers or create slideshow presentations, but there are other projects they could be doing that you may not have thought of. Below I have listed 16 great ideas for projects using Google Docs, Slides, and Forms. (If you and your students want to learn more about how to use these apps, check out my Google Drive Basics course; more info at the end of this post!)"
John Evans

25 Teaching Tools To Organize, Innovate, & Manage Your Classroom - 2 views

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    "Over the years, many of us have personally experienced the growth of technology in today's classrooms. Instead of taking notes, students are now occupied by surfing the Internet, scrolling through Facebook, and messaging their friends on their smart phones, tablets, and laptops. Instead of focusing on the instruction, teachers are constantly required to interrupt class in order to remind those students again and again, that class time is for learning, not texting. However, as today's students are using more technological devices, it is imperative that teachers have access to the resources to keep pace with the growing tech culture. The use of smart phones, tablets, and other tech items in the classroom do not necessarily have to have a negative impact on student achievement. On the contrary, the increasing accessibility and growth of technology presents teachers with the unique opportunity to take advantage of those once distracting gadgets, and use them to facilitate academic achievement in new and innovative ways. In this capacity, teachers do not need to be constantly fighting for student attention, but can freely accept it, by introducing a new educational environment that will automatically encourage student participation. Below are some resources that teachers may find useful when attempting to implement technology into their classrooms, separated by 5 common areas that are increasingly important for teachers, and for an effective learning environment-Organization, Project Based Learning, Class Management, Presentations, and Assessment. "
Nigel Coutts

Project Zero Turns 50 - The Learner's Way - 2 views

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    This year is the fiftieth birthday of Harvard's Project Zero, a research project designed to explore the nature of thinking and learning and from this suggest pedagogies which align with what we know about the mind. For its birthday celebration Project Zero shared insights from its five decades of research with presentations from Howard Gardner, David Perkins, Shari Tasman, Steve Seidel and Daniel Wilson. The presentations revealed the changing nature of the work of Project Zero from its early days and focus on arts education to its current position as a research organisation with broad interests across education but with a focus on thinking, understanding and the workings of the mind.
John Evans

New MOOCs: Teaching AI in primary and secondary classrooms | CSER Digital Technologies ... - 2 views

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    "Artificial Intelligence (AI) is driving the next wave of technological innovation and is changing almost every industry around us. With the expansion and ubiquity of AI being a motivating factor in the decisions and need for all children to develop their understanding of Computer Science, it is logical that children also must need to develop their understanding of AI itself. We have two free teacher professional development MOOCs in AI available to suit your year level: Teaching AI in the Primary Classroom and Teaching AI in the Secondary Classroom. Our AI courses are presented in two related parts. Firstly, we provide school teachers with an overview of AI, unpacking AI and key concepts across both MOOCs. The second half of our AI MOOCs are specific to the year level you have selected (primary or secondary). In these units, we present the practical implementation of classroom activities that engage students in learning about AI, including support for teachers about the design and assessment of learning activities. You may complete one or both primary and secondary courses! From the 21st of June, our "Overview" units will be available to access, with the second half of the course being available in July. Registration is now open!"
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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