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Nigel Coutts

Process vs Product in Maker-centered Learning - The Learner's Way - 5 views

thelearnersway.net/...uct-in-maker-centered-learning

process product learning Education technology

shared by Nigel Coutts on 06 Nov 16 - No Cached
  • Nigel Coutts on 06 Nov 16
     
    The maker movement and with it maker-centered learning brings new possibilities and challenges into the classroom. It has spawned makerspaces and students are busy designing and making products. The danger with all this frenzied making is that it is very easy to miss the point, to focus on the product and not the journey.  
John Evans

Education Is A System; Teaching Is An Action; Learning Is A Process - 4 views

www.teachthought.com/...aching-action-learning-process

education system teaching action learning process

shared by John Evans on 03 Feb 14 - No Cached
  • John Evans on 03 Feb 14
     
    "I recently read Audrey Waters write about privilege in education. I always appreciate Waters'-and similarly, Jackie Gerstein's-habit of asking difficult questions and presenting a perspective on education that doesn't always come up in the PLC meeting, tweet chat, or utopian summit on school design."
John Evans

How Gamification Uncovers Nuance In The Learning Process - 4 views

www.teachthought.com/...nuance-in-the-learning-process

gamification learning process

shared by John Evans on 18 Feb 14 - No Cached
  • John Evans on 18 Feb 14
     
    "Gamification is simply the application of "game" mechanics to non-game entities. The big idea here is to encourage a desired behavior. In this way, "gamification" amounts to installing mechanics or systems that recognize and reward behavior. Through increased visibility of nuance, documentation of progress, and rewarding of seemingly minor (but critical) behaviors, a specific outcome can be achieved."
John Evans

How To Understand Anything Using The Inquiry Process - Edudemic - Edudemic - 7 views

www.edudemic.com/inquiry-process

inquiry process

shared by John Evans on 17 Nov 13 - No Cached
  • John Evans on 17 Nov 13
     
    "Hypothetical situation: you're a student and your teacher has tasked you with identifying a topic that is important to you, understanding it, interpreting it, and then delivering a report to your classmates. Aside from the nerve-wracking part of talking at the front of the classroom (eep!) there are a lot of things to consider. For example, how do I find my particular topic? How do I find relevant resources, interpret what I read, and then distill it all into a presentation that shows I learned … you know … something."
John Evans

Design Thinking: A creative process for school change | The Curious Creative - 3 views

edte.ch/...tive-process-for-school-change

design thinking process school change

shared by John Evans on 14 Apr 14 - No Cached
  • John Evans on 14 Apr 14
     
    "During one of my workshops last year in Boston, Brad Ovenell-Carter (@braddo) put his visual notetaking skills to action. I took his lovely summary drawing and used ThingLink to add layers of information and elaboration."
John Evans

The Craft of Common Craft | nmc - 0 views

www.nmc.org/commoncraft

nmc commoncraft how-to tutorials interview leelefever

shared by John Evans on 16 Dec 08 - Cached
  • In this Connect@NMC online seminar, Lee will share a bit on their development and video process for the unique style they call "Paperworks." This session is designed to be an open discussion, so please come with some questions you may want to ask Lee about his technique or some suggestions for what other topics should be explained in "Plain English."
  • John Evans on 16 Dec 08
     
    In this Connect@NMC online seminar, Lee will share a bit on their development and video process for the unique style they call "Paperworks." This session is designed to be an open discussion, so please come with some questions you may want to ask Lee about his technique or some suggestions for what other topics should be explained in "Plain English." If you missed this session, you can now view the archived recording http://nmc.na3.acrobat.com/p92246187/
John Evans

Langwitches Digital Storytelling Part VII Mixbook - 0 views

langwitches.org/...-storytelling-part-vii-mixbook

digital_storytelling digitalstorytelling langwitches mixbook tools

shared by John Evans on 11 Jul 08 - Cached
  • Mixbook.com is web-based but sets itself apart from the previously mentioned tools. It allows us to use storytelling in a way that we all are already comfortable and familiar with. The process does not create a new media, such as a podcast, a video clip uploaded to YouTube or a VoiceThread embedded in a blog or wiki, that most people are still getting comfortable in handling. Mixbook is a tool that allows anyone to tell a story by creating and publish it as a book!
  • John Evans on 11 Jul 08
     
    Mixbook.com is web-based but sets itself apart from the previously mentioned tools. It allows us to use storytelling in a way that we all are already comfortable and familiar with. The process does not create a new media, such as a podcast, a video clip uploaded to YouTube or a VoiceThread embedded in a blog or wiki, that most people are still getting comfortable in handling. Mixbook is a tool that allows anyone to tell a story by creating and publish it as a book!
John Evans

Learning Conversations | David Truss :: Pair-a-dimes for Your Thoughts - 0 views

pairadimes.davidtruss.com/learning-conversations

pairadimes learning conversations

shared by John Evans on 20 Nov 08 - Cached
  • Not the Knowing, but the Process of Inquiry. Not covering the curriculum, but ‘uncovering’ the curriculum. A focus in innovation and creativity… how do we model this… every day? Maureen also spoke of the 5 needs that we (students/teachers/learners) have: The need to feel confident, The need to feel like we belong, The need to be potent- feel you have made a difference, The need to feel useful, and The need to have a sense of optimism
  • John Evans on 20 Nov 08
     
    From the site: "Not the Knowing, but the Process of Inquiry. Not covering the curriculum, but 'uncovering' the curriculum. A focus in innovation and creativity… how do we model this… every day? Maureen also spoke of the 5 needs that we (students/teachers/learners) have: The need to feel confident, The need to feel like we belong, The need to be potent- feel you have made a difference, The need to feel useful, and The need to have a sense of optimism"
John Evans

Reading Comprehension - 0 views

www.literacy.uconn.edu/compre.htm

comprehension reading strategies teaching

shared by John Evans on 06 Jun 08 - Cached
  • Within this page,the complex processes involved in reading comprehension are divided into three categories (much like the National Reading Panel Report). The categories include vocabulary instruction, text comprehension instruction, and teacher preparation and comprehension strategies instruction. You'll also find useful websites that students can visit to practice their use of comprehension strategies with fiction and non-fiction texts at a variety of reading levels. 
    • Robin Seneta
      Robin Seneta on 04 Aug 09
       
      Great points!
  • John Evans on 06 Jun 08
     
    Within this page,the complex processes involved in reading comprehension are divided into three categories (much like the National Reading Panel Report). The categories include vocabulary instruction, text comprehension instruction, and teacher preparation and comprehension strategies instruction. You'll also find useful websites that students can visit to practice their use of comprehension strategies with fiction and non-fiction texts at a variety of reading levels.
John Evans

The 3-Step Brainstorming Process 'The Onion' Uses to Come Up With So Many Hilarious Ide... - 1 views

www.inc.com/...art-brainstorming-process.html

brainstorming process onion ideas

shared by John Evans on 23 Apr 19 - No Cached
  • John Evans on 23 Apr 19
     
    "Since its humble beginnings as a crank newspaper put out by college students in 1988, satirical news source The Onion has been cracking Americans up with headlines like "Kitten Thinks of Nothing but Murder All Day" and "Black Man Given Nation's Worst Job" (to mark the inauguration of President Obama). How has it managed to come up with so many hilarious headlines for so many years? According to fascinating recent TED Ideas post by ex-Onion staffer Brian Janosch, the answer is a really, really good brainstorming technique -- one you can totally steal."
John Evans

5 Strategies to Demystify the Learning Process for Struggling Students | MindShift | KQ... - 0 views

ww2.kqed.org/...rocess-for-struggling-students

strategies learning process students

shared by John Evans on 04 Jan 18 - No Cached
  • John Evans on 04 Jan 18
     
    "Barbara Oakley's professional biography does not suggest that she was once a struggling math and science student: She is an engineering professor, author of A Mind For Numbers: How to Excel at Math and Science and Mindshift: Break Through Obstacles to Learning and Discover Your Hidden Potential (which is not affiliated with this MindShift). Oakley co-created Coursera's most popular course, "Learning How to Learn," with Terrence Sejnowski, which has enrolled nearly 2 million students.  But Oakley is a self-described "former math flunky" who "retooled" her brain - and who has since made it her life's work to help others learn how to learn by explaining some key principles from modern neuroscience. "
John Evans

A Simple Process and Template for Student Podcasting * TechNotes Blog - 1 views

blog.tcea.org/ss-template-student-podcasting

template student podcasting process

shared by John Evans on 13 Oct 22 - No Cached
  • John Evans on 13 Oct 22
     
    "Maybe you've heard the saying that whoever is talking is the person learning. Or, the teacher should do less talking in the classroom than the students. Both of those sayings have truth to them. With that in mind, let's see if there are benefits to student-generated podcasts."
Clint Hamada

The Code of Best Practices in Fair Use for Media Literacy Education -- Publications --... - 8 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
  • 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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