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John Evans

Free Technology for Teachers: Transforming Learning Through Student Content Creation - 1 views

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    " Inspired by ideas like project based learning and #20Time, I decided to take a stand against "Google-able questions." Instead of students only finding information and curating content, they needed to create the learning for themselves. Our students live in a world of Web 2.0, social media, and content creation, and I needed to bring this into their learning. And together, we did. Halfway through this school year, I explained that we will no longer produce work that is forgettable and can be left in a backpack. Instead, we will create content that we can be proud of, will remember, and will help each other learn. I wanted to push students to develop more meaningful and diverse skills to prepare them for their futures by creating work that matters to them. To do this, we needed to produce for an audience; all learning was now public to the world. Suddenly, the learning was visible, the technology was more purposeful and complex, and class was more fun. Students' work wasn't hidden in their notebooks, but shared, produced, and even live-streamed, like the argument videos below. "
John Evans

Your Laptop's Dirty Little Secret - TIME - 0 views

  • Phones and computers contain dangerous metals like lead, cadmium and mercury, which can contaminate the air and water when those products are dumped. It's called electronic waste, or e-waste, and the world produces a lot of it: 20 to 50 million tons a year, according to the UN — enough to load a train that would stretch around the world. The U.S. is by far the world's top producer of e-waste, but much of it ends up elsewhere — specifically, in developing nations like China, India and Nigeria, to which rich countries have been shipping garbage for years.
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    Phones and computers contain dangerous metals like lead, cadmium and mercury, which can contaminate the air and water when those products are dumped. It's called electronic waste, or e-waste, and the world produces a lot of it: 20 to 50 million tons a year, according to the UN - enough to load a train that would stretch around the world. The U.S. is by far the world's top producer of e-waste, but much of it ends up elsewhere - specifically, in developing nations like China, India and Nigeria, to which rich countries have been shipping garbage for years.
John Evans

MIT Joins Forces with Khan Academy to Produce Videos for Young Students | MindShift - 2 views

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    "MIT Joins Forces with Khan Academy to Produce Videos for Young Students"
John Evans

Evaluating Project-Based Learning | Edutopia - 1 views

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    "Last year I took a group of students to Cuba to produce documentaries about the island nation's culture and history. The main objective was learning how to produce documentaries, but one of my students learned a much more powerful lesson through the process. After completing her project, she posted it publicly to YouTube and received critical comments from someone living in Cuba. The feedback from an audience member in another country profoundly affected her, making her aware of what she was missing in her piece, and the impact that her work can have on others. No test, grade, or teacher evaluation could have come close to helping her learn that deeply, and it made clear to me how important it is for teachers to reexamine why and how we grade our students if we truly care about their success."
Nigel Coutts

The rewards of highly collaborative teams - The Learner's Way - 0 views

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    Not that long ago I was a writer of interesting and engaging educational programmes. Fortunately, that is no longer the case. The programmes that I wrote and shared with a team of teachers were generally well accepted and the feedback offered was always politely positive. I enjoyed writing these programmes but in recent times I have enjoyed even more stepping away from this process and in doing so empowering the team of teachers that I learn with. The programmes that this team produces far exceed the quality I could ever have hoped to produce but more importantly the students are benefiting from their experience of highly engaged and thus engaging teachers.
John Evans

The iPad and Student Use « syded - 0 views

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    "Students aren't daunted by the iPad interface. They may take time to experiment and understand steps required to produce an outcome, but they will persevere. Having observed students at different stages of learning, across many subjects, it has become clear that students aren't a barrier to learning with the iPad. If a process doesn't work for a student they will try something different. They collaborate with peers to produce quality work and will heed advice to move forward."
John Evans

NMC Horizon Report > 2015 K-12 Edition | The New Media Consortium - 2 views

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    "What is on the five-year horizon for K-12 schools worldwide? Which trends and technologies will drive educational change? What are the challenges that we consider as solvable or difficult to overcome, and how can we strategize effective solutions? These questions and similar inquiries regarding technology adoption and transforming teaching and learning steered the collaborative research and discussions of a body of 56 experts to produce the NMC Horizon Report > 2015 K-12 Edition, in partnership with the Consortium for School Networking (CoSN). The NMC also gratefully acknowledges ISTE as a dissemination partner. The three key sections of this report - key trends, significant challenges, and important developments in educational technology - constitute a reference and straightforward technology planning guide for educators, school leaders, administrators, policymakers, and technologists. It is our hope that this research will help to inform the choices that institutions are making about technology to improve, support, or extend teaching, learning, and creative inquiry in K-12 education across the globe. View the wiki where the work was produced."
John Evans

The Evolution of Apps in Education, and it's good news! - Daily Genius - 5 views

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    But Apps and the developers (many of who are bringing teachers onto their teams) are changing. The philosophy has changed. The products they are producing have a new focus. These Apps are gaining a vote of confidence from teachers who are downloading them. So why are these Apps dominating school App lists and gaining respect from the educational community. Quite simply they promote elements that we know have a positive impact on learning. Applications such as Book Creator and Explain Everything start with a blank canvas and lead students to use multimedia to demonstrate learning, produce digital products and make learning more visible.
John Evans

Free Technology for Teachers: A Good Resource for Learning About the Science of Food - 4 views

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    "Foodskey is a site produced by The University of Nottingham who also produces the Periodic Table of Videos. Foodskey is a set of fourteen videos about the science of food. The videos cover topics like nutrition, food security, and crop technology. I've embedded the video about broccoli below."
John Evans

Free Technology for Teachers: Snap vs. Scratch - 2 views

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    "Yesterday, I shared a student-produced video from Next Vista for Learning. This morning I have a good example of a teacher-produced video found on Next Vista. In the following video Brian Ellis explains what the Snap programming language is, demonstrates how it works, and explains the differences between Snap and Scratch. Take a look at the video and think about how your students might make use of Snap's features."
John Evans

The Tech Behind Your Favorite Comic Books | PCMag.com - 1 views

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    "Stan Lee, Jack Kirby, Bill Finger, Bob Kane, Joe Simon, Steve Ditko, Jerry Siegel, Joe Shuster, and dozens of other Golden and Silver Age visionaries produced superhero, romance, western, horror, and crime comics using the craftsman's tools of their day: paper, typewriters, pencils, brushes, inks, and dyes. From the 1930s until roughly the mid-1990s, comic books were produced almost entirely in this fashion, with a few digital blips along the way. But as electronic tools became increasingly affordable and powerful, the comic book creation process shifted from an analog process to a digital one. In contemporary times, there's a good chance that no aspect of your favorite title is physical until finished pages start rolling off a printing press."
John Evans

How Art Has Advanced Astronomy | Time - 0 views

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    "In January 2004, NASA announced it was canceling a mission to service the Hubble Space Telescope. In light of dangers associated with the Columbia tragedy the previous year, it was considered too risky. As a result, the Hubble, lauded as one of the most influential scientific instruments of all time, would have only a few remaining years to survive. Over the following months, the plan was intensely debated. Petitions garnered thousands of signatures from members of the public. Congressional committee meetings and hearings were held. Citizens and scientists alike, inspired by the discoveries and images the telescope had produced, clearly weren't ready for the telescope's premature retirement. By that point, the Hubble had nearly fulfilled all its mission objectives since its launch in 1990. With 100,000 observations, it had measured the universe's expansion, studied planetary origins, and produced a vast trove of pictures like the iconic Deep Field (seen at the top of this piece) and Pillars of Creation, which changed the way we see our place in the universe. These images, taken for science and re-mastered by astronomers, captured the public's imagination in a way no telescope had before. "
John Evans

How to Create AI Art on Your Computer and Why You Should - 2 views

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    "Generative art-art produced by AI-means you no longer need to be an accomplished artist to produce fantastic images in whatever style you choose. To create AI art, you would typically create an account with a third-party company and have generated images served to you over the web. But did you know you can create unlimited AI images on your own PC?"
John Evans

Jane's E-Learning Pick of the Day: Mi vida loca - Spanish course - 0 views

  • The BBC has produced a fun and interactive course, which is available for free. It draws you into a web of intrigue dealing with real natives and you can't help but learn Spanish! You'll find yourself at the heart of a fast-paced mystery drama, which starts off in Madrid.
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    The BBC has produced a fun and interactive course, which is available for free. It draws you into a web of intrigue dealing with real natives and you can't help but learn Spanish! You'll find yourself at the heart of a fast-paced mystery drama, which starts off in Madrid.
John Evans

7 Essential Guidelines For Functional Design | How-To | Smashing Magazine - 0 views

  • These are the elements of functional design, the process of responding to the needs or desires of the people who will use an item in a way that allows their needs or desires to be met. Functional design is both an outcome and a process. As an outcome, it describes products that work well to perform their assigned tasks; as a process, functional design is a set of practices guided by the principles that produce that positive outcome.
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    These are the elements of functional design, the process of responding to the needs or desires of the people who will use an item in a way that allows their needs or desires to be met. Functional design is both an outcome and a process. As an outcome, it describes products that work well to perform their assigned tasks; as a process, functional design is a set of practices guided by the principles that produce that positive outcome.
Clint Hamada

The Code of Best Practices in Fair Use for Media Literacy Education -- Publications --... - 7 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
  • 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

Derek's Blog » Technology vs pedagogy - 0 views

  • “Technology in and of itself cannot make school practice innovative, and will not produce educational change, but technology, in the hands of pedagogically skilled educators it can enable innovative practice and facilitate educational change.”
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    "Technology in and of itself cannot make school practice innovative, and will not produce educational change, but technology, in the hands of pedagogically skilled educators it can enable innovative practice and facilitate educational change."
Phil Taylor

Aspiring Teachers Ill-Prepared to Use Ed Tech Effectively | Fluency21 - Committed Sardi... - 5 views

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    ""If future teachers in preparatory programs are learning the old ways of teaching, then these programs are producing young-old teachers."
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