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John Evans

Presentation Zen: Lessons from the art of storyboarding - 0 views

  • Applying the conceptsHow can you visualize your presentation like a comic? No, not literally perhaps — but something like the sequential flow of a comic or rough sketches in storyboard form. You can do this on a whiteboard, but one of the best analog ways is with sticky notes (Post its) on a wall on in a notebook (a technique Bert Decker, Nancy Duarte, and others have talked about before as well).
    • John Evans
       
      Another great use for Post-It Notes!
  • Here is a good short video reviewing the art of the storyboard as it's used in story development and production in the motion picture industry.
  • Storyboards are an effective, inexpensive way to develop the story. You can "board it up" on the wall and see if it works. Because ideas can be changed easily and quickly, storyboarding works. The key is to put down in your storyboards the minimum amount of information that gives a dynamic and quick read of the content (and the emotions) of the sequence.
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  • A good storyboard artist is a good storyteller.
  • Walt Disney, they say, was an amazing pitchman/storyboard artist. Walt's great ability was his passion and vision behind the pitch. The storyboard pitch is one of the great performance arts developed in the 20th century at Disney (yet no one ever gets to see it). The use of storyboards is one of the reasons Walt Disney's early films were so remarkable; the practice was soon copied.
  • With storyboarding you tell the story in the simple form (storyboard reels) before entering the more complex form. The storyboard lets the whole team in on what's going on with the production. The storyboard is "an expensive writing tool, but an inexpensive production tool." The storyboard can cut out a lot of unnecessary work. Storyboards allow you to see what is not working (and toss the bits out that don't work).
  • Kevin Costner: "If I can make things work on paper, then I can make them work on the set."
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    Very nice discussion about storyboarding.
John Evans

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

  • 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.
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    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

21st Century Learning: Why Change? - 0 views

  • Here's why-- you change for the same reason you went into teaching in the first place. You change because what you do for a living was never just a job- but more a mission. You change because you are willing to do whatever it takes to make a significant difference in the lives of the students you teach. You change because you care deeply about kids and you know that unless you personally own these new skills and literacies you will not be able to give them to your students.
  • You change because of all the people in the world- teachers understand the value of being a lifelong learner. You change because you know intuitively relationships matter and you are interested in leaving a legacy to your kids-- through what you do for other's kids. You change because you understand learning is dynamic and that to not change means to quit growing.
  • Why change? Because you made the decision when you first became a teacher to do something that was larger than life and more meaningful than money, recognition, and status. You became a teacher because of change-- the changes in the world you wanted to make one kid at a time. You change because you want to do what is right-- simply because it *is* the right thing to do and you understand the need to model for others so they can do what is right as well. You are use to hard work and long hours. You are use to commitment with little recognition. You know what you do has lasting results
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  • You change because the world has changed and you know that not challenging the status quo is the riskiest thing you can do at this point. You change because you love learning and you love children and you know they need you to lead the way in this fast paced changing world and to do that you have to find your own way first. That is why you and they should change
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    Points to ponder
John Evans

Clickers in the Classroom: An Active Learning Approach (EDUCAUSE Quarterly) | EDUCAUSE ... - 0 views

  • Clickers, or student response systems, are a technology used to promote active learning. Most research on the benefits of using clickers in the classroom has shown that students become engaged and enjoy using them.
  • For this reason, I conducted a study that compared learning outcomes resulting from the use of clickers versus another active learning method—class discussion. Even though both techniques employ active learning, would using clickers increase learning outcomes more than another active learning approach? Two key features distinguish clicker use: Clickers provide a mechanism for students to participate anonymously. Clickers integrate a "game approach" that may engage students more than traditional class discussion. The study also investigated students' perceptions of their learning using clickers versus classroom discussion
John Evans

The Educational Technology Site: ICT in Education: --> A Preview of 2DIY - 0 views

  • I like the idea that children could use this to devise activities which, rather than testing or extending their skills by doing the activity itself, does so by requiring them to design the activity themselves
  • For example, when creating a quiz they may have to think about issues like the path taken by the user, how to frame the question, show the scoring will work, and what sounds (if any) to use for the feedback.
  • News & Views A Preview of 2DIY By Terry Freedman Created on Wed, 14 Jan 2009, 09:33 Email this article  Printer friendly page Email the author Listen to this article if ("">"") { document.write (""); document.write (""); document.write (""); } I've just received a link to download the latest program from 2Simple. Called 2DIY (for non-Brits, DIY = do-it-yourself, a shorthand term for home making things like bookshelves for the home), it enables users to create their own games and exercises.I've had a quick exploration, and it is looking very good. Read on for a quick thumbnail sketch, and why I think you should look into it.Back in the 1990s I used to love looking at shareware games developed for the educational sector. Some of the games were quite fun, but the problem for me was either that the game wasn't really educational at all, or that it didn't quite do what I'd have liked. Unfortunately, I never had the time to develop my games programming skills in order to rectify the situation.I think 2DIY would have been a step in the right direction.I think the best way of describing the program -- bearing in mind I've had it installed for less than an hour -- is that it's the programming equivalent of a painting or desktop publishing program. What you have  is a suite of specialised  tools, and you can use them to build yourt own games and activities.You can see from the screenshot that the range is quite extensive. The manual is easy to use, and there are videos and examples available.It has the ability to let you import pictures or select from a range of ones provided. Indeed, there is quite a lot of control over what your completed game or activity will look like.What's more interesting to me, however, is what boxes it ticks if you put it into the hands of youngsters -- and I use the term "youngsters" rather than "children" for reasons which will become apparent
John Evans

edublogs: Fresh research showing the damage of filtering 'real world' technology - 0 views

  • Students in schools around the world find that their research, creativity and learning potential is seriously curbed by filtering and lack of use of their own mobile and gaming devices in schools. This comes from research spanning the Americas, brought to my attention by its author, Research Consultant Kim Farris-Berg
  • "In 2007, [filtering] was high school students’ number one obstacle to using technology at their schools (53 percent). For middle school students, two obstacles tied for the greatest barrier (39 percent each): “there are rules against using technology at school” and “teachers limit technology use”. It’s likely that when students face obstacles to using technology at school, they also face obstacles to inquiry-based learning opportunities which can include online research, visualizations, and games."
  • "Students reported that other major obstacles to using technology at school are not being able to access email accounts and slow internet access. Perhaps these are the reasons why just 34 percent of teachers communicate with students via email. Teachers are certainly online; just not with students. Ninety percent of teachers, parents, and school leaders use email to communicate with one another about school."
doris molero

Educational Leadership:Giving Students Ownership of Learning:Footprints in the Digital Age - 0 views

  • Picture a bus. Your students are standing in the front; most teachers (maybe even you) are in the back, hanging on to the seat straps as the bus careens down the road under the guidance of kids who have never been taught to steer and who are figuring it out as they go.
  • In short, for a host of reasons, we're failing to empower kids to use one of the most important technologies for learning that we've ever had. One of the biggest challenges educators face right now is figuring out how to help students create, navigate, and grow the powerful, individualized networks of learning that bloom on the Web and helping them do this effectively, ethically, and safely. The new literacy means being able to function in and leverage the potential of easy-to-create, collaborative, transparent online groups and networks, which represent a "tectonic shift" in the way we need to think about the world and our place in it (Shirky, 2008). This shift requires us to create engaged learners, not simply knowers, and to reconsider the roles of schools and educators.
    • doris molero
       
      creating engaged learners... that's the most difficult... we need more than simply knowers... How do we do it? we have tried and keep o trying... but at he end of the day .. students are the ones that decide what to do....
  • As the geeky father
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

The Best Way to Use the Last Five Minutes of Your Day - Peter Bregman - Harvard Busines... - 7 views

  • There's a simple reason for it: we rarely take the time to pause, breathe, and think about what's working and what's not. There's just too much to do and no time to reflect. I was once asked: if an organization could teach only one thing to its employees, what single thing would have the most impact? My answer was immediate and clear: teach people how to learn. How to look at their past behavior, figure out what worked, and repeat it while admitting honestly what didn't and change it.
Phil Taylor

Google Docs and new feature - "Discussions" - 1 views

  • how do I remove comments or delete them if the thread gets too long? The answer is that you can delete them, or you can ‘resolve’ a discussion that would collapse the thread and archive it -- if for any reason it needs to be retrieved later.
John Evans

I Finally Drank the Kool-Aid! - The Tempered Radical - 3 views

  • Having gained notoriety as a somewhat surly cuss, most everyone was surprised when I emerged as an active proponent of professional learning communities as a form of staff development.
  • more practical reason that educators should embrace learning teams:  Collaboration done right helps to lighten the load for everyone. In the past few years, I've actually seen the time that I invest in planning daily lessons go down as I've taken advantage of learning experiences and materials shared by my colleagues.
Phil Taylor

iOS 5, iCloud and Education: To what degree will iBenefit? - iPads in Education - 0 views

  • Typically in a school scenario that will be when they are left charging overnight in a cart. Score one for IT administrators.
  • AirPlay mirroring will now allow anyone with an iPad 2 to project whatever is on their screen wirelessly to any HD television connected to an Apple TV. For those that aren’t familiar with Apple TV, frankly you’re in the majority. There haven’t been many compelling reasons to consider purchasing this $99 device … until now.
  • iMessage: OK, so let’s just call it Blackberry Messaging for iOS devices and leave it at that.
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  • iCloud focuses on integration with apps as opposed to DropBox or SugarSync which are more of a generic file storage mechanism.
  • With iCloud, the student has a web based account and the document is automatically stored and backed up from the iPad. Further, the student can access the account off-campus and retrieve the document for further editing before returning it to the iCloud account.
  • Add to that tabbed browsing and speed improvements and Safari may finally be a capable mobile browser.
  • inadequacy of the mobile Safari text editor control has made it next to impossible to use popular text editing tools to edit blog posts or Google Docs. The jury’s still out on this feature but it appears that an enhanced version could still be included with iOS 5. This would be a dramatic and very desirable improvement.
Jo Richards

Trouble with Rubrics - 0 views

  • “we need to look to the piece of writing itself to suggest its own evaluative criteria” – a truly radical and provocative suggestion.
    • Jo Richards
       
      Wow, nice concept. Getting further into subjectivity though. Where do we get an understanding of how to determine a pieces distinct 'evaluative criteria'
  • Thus, the dilemma:  Either our instruction and our assessment remain “out of synch” or the instruction gets worse in order that students’ writing can be easily judged with the help of rubrics.
  • In fact, when the how’s of assessment preoccupy us, they tend to chase the why’s back into the shadows.
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  • We have to reassess the whole enterprise of assessment, the goal being to make sure it’s consistent with the reason we decided to go into teaching in the first place.
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