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John Evans

Logo Foundation Publications | Logo Update - 0 views

el.media.mit.edu/...index.html

logo foundation archives coding computer Science

shared by John Evans on 07 Dec 16 - No Cached
  • John Evans on 07 Dec 16
     
    "In September, 1982, Tom Lough started The National Logo Exchange with Steve Tipps and Glen Bull as a monthly newsletter for Logo teachers and parents. In January, 1986 The International Logo Exchange was launched with Dennis Harper as the editor-in-chief. In September, 1986 these two publications were combined and renamed Logo Exchange . The International Council for Computers in Education (ICCE) acquired the publication in 1987, designating it as the official journal of the ICCE Special Interest Group for Logo-Using Educators (SIG-Logo). In 1989 ICCE was renamed the International Society for Technology in Education (ISTE). Logo Exchange continued as the ISTE journal for SIG-Logo until the fall of 1999, when the SIG was dissolved. The collected issues of Logo Exchange provide a window on Logo developments and Logo teaching over a span of 17 years. We are making these historic documents available here on the Logo Foundation Web site. All 18 volumes of The National Logo Exchange are posted here along with the four issues of The International Logo Exchange. We also include Last Logo Exchange, a collection of essays written by the former editors of Logo Exchange 15 years after it ceased publication. Click on an issue below to see a PDF scan of the original publication. These documents may be downloaded, reproduced, and copied for personal and educational uses provided that you do not charge for copies, and that you include the original copyright notices on them."
John Evans

Educational Leadership:Teaching with Mobile Tech:How to Transform Teaching with Tablets - 8 views

www.ascd.org/...orm-Teaching-with-Tablets.aspx

leadership teaching mobile tech tablets

shared by John Evans on 03 May 15 - No Cached
  • John Evans on 03 May 15
     
    "When you look at the very best work happening in iPad classrooms, you'll see students creating media, showcasing their understanding, collaborating with peers, and communicating with broad audiences. The pockets of excellence are ever-present and inspiring. On the whole, however, tablets are most often used to reproduce existing practices-to distribute resources and enable students to take notes. Past generations of school leaders might have been forgiven for permitting these patterns of technology adoption, but today we have the benefit of history to look back on. We know that without a change in our technology integration strategies, there's no reason to expect that a new device will magically create new teaching practices in schools. To make the most of the investment in tablet computers, school leaders need to do three things. First, they need to work with their communities to articulate a clear vision for how new technology will improve instruction. Second, they need to help educators imagine how new technologies can support those visions. Finally, they need to support teachers and students on a developmental journey that will take them from using tablets for consumption to using them for curation, creation, and connection."
John Evans

53+ Free Image Sources For Your Blog and Social Media Posts - 2 views

blog.bufferapp.com/free-image-sources-list

image photos creativecommons Media royalty free Sources

shared by John Evans on 23 Mar 15 - No Cached
  • John Evans on 23 Mar 15
     
    "But there's one question we get asked quite often: Where can you find free, good quality images that are cleared to use for your blog posts or social media content? It's a question with a lot of different answers and caveats. Nearly every image created in the last 30 years is still protected by copyright-a protection that gives virtually every author the exclusive right to use or reproduce their work. But you can find a public domain photo, use a Creative Commons image that might need attribution or even create your own image from scratch."
John Evans

Connecting the Digital Dots: Literacy of the 21st Century (EDUCAUSE Quarterly) | EDUCAUSE - 0 views

www.educause.edu/...157395

digital literacy educause

shared by John Evans on 12 Aug 09 - Cached
  • The greatest challenge is moving beyond the glitz and pizzazz of the flashy technology to teach true literacy in this new milieu. Using the same skills used for centuries—analysis, synthesis, and evaluation—we must look at digital literacy as another realm within which to apply elements of critical thinking.
  • Literacy includes the ability to read and interpret media (text, sound, images), to reproduce data and images through digital manipulation, and to evaluate and apply new knowledge gained from digital environments. According to Gilster,5 the most critical of these is the ability to make educated judgments about what we find online.
  • Clint Hamada on 12 Aug 09
     
    The greatest challenge is moving beyond the glitz and pizzazz of the flashy technology to teach true literacy in this new milieu. Using the same skills used for centuries-analysis, synthesis, and evaluation-we must look at digital literacy as another realm within which to apply elements of critical thinking... Literacy includes the ability to read and interpret media (text, sound, images), to reproduce data and images through digital manipulation, and to evaluate and apply new knowledge gained from digital environments. According to Gilster,5 the most critical of these is the ability to make educated judgments about what we find online.
John Evans

Why Teaching Kindness in Schools Is Essential to Reduce Bullying | Edutopia - 0 views

www.edutopia.org/...al-reduce-bullying-lisa-currie

teaching kindness schools essential bullying edutopia

shared by John Evans on 19 Oct 14 - No Cached
  • John Evans on 19 Oct 14
     
    "Phrases like "random acts of kindness" and "pay it forward" have become popular terms in modern society. Perhaps this could be best explained by those who have identified a deficiency in their lives that can only be fulfilled by altruism. It seems that we just can't get enough of those addictive, feel-good emotions -- and with good reason. Scientific studies prove that kindness has many physical, emotional, and mental health benefits. And children need a healthy dose of the warm-and-fuzzies to thrive as healthy, happy, well-rounded individuals. Patty O'Grady, PhD, an expert in neuroscience, emotional learning, and positive psychology, specializes in education. She reports: Kindness changes the brain by the experience of kindness. Children and adolescents do not learn kindness by only thinking about it and talking about it. Kindness is best learned by feeling it so that they can reproduce it. A great number of benefits have been reported to support teaching kindness in schools, best summed up by the following."
John Evans

Science Confirms It: If You Want To Succeed, You Have To Screw Up | Co.Create | creativ... - 2 views

www.fastcocreate.com/...o-succeed-you-have-to-screw-up

science success failure

shared by John Evans on 26 Aug 14 - No Cached
  • John Evans on 26 Aug 14
     
    "We're all familiar with the term "muscle memory." Once you've learned to do something--serve a tennis ball, play a difficult piece of piano music, or draw a lifelike human hand--your body seems to intuitively "know" how to reproduce that action. But researchers at Johns Hopkins university have recently discovered that our ability to perform a physical athletic or creative task isn't entirely about what the body has learned to do right. Instead, we owe our success to the hundred times we've tried to master a skill and failed."
John Evans

Understanding The 3D Printing Ecosystem | TechCrunch - 2 views

techcrunch.com/...ing-it-down-and-building-it-up

3DPrinting 3D printing ecosystem makereducation makered

shared by John Evans on 29 Oct 15 - No Cached
  • John Evans on 29 Oct 15
     
    "Excitement about 3D printing has steadily accelerated over the past decade - but this excitement has largely outpaced innovation and development in the field. As a researcher in 3D printing technologies, I've built 3D printers using all of the major technologies, as well as more experimental ones. What I've learned is that many of these technologies are composed of very well-understood materials, software problems and mechanical systems - things that engineers have been doing for decades. This, then, begs the question: Why isn't 3D printing better? Why are failure rates so high and why is reproducibility so difficult? It's clear that it's not due to working with exotic materials or advanced motion control. What's actually holding back innovation is how we think about those technologies: as separate pieces, rather than as elements of a system. "
Clint Hamada

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

www.centerforsocialmedia.org/...e_for_media_literacy_education

Best Practice Fair Use literacy CC copyright guide guidelines

shared by Clint Hamada on 07 Apr 10 - Cached
  • Fair use is the right to use copyrighted material without permission or payment under some circumstances—especially when the cultural or social benefits of the use are predominant.
  • This guide identifies five principles that represent the media literacy education community’s current consensus about acceptable practices for the fair use of copyrighted materials
  • This code of best practices does not tell you the limits of fair use rights.
  • ...51 more annotations...
  • Media literacy is the capacity to access, analyze, evaluate, and communicate messages in a wide variety of forms. This expanded conceptualization of literacy responds to the demands of cultural participation in the twenty-first century.
  • Media literacy education helps people of all ages to be critical thinkers, effective communicators, and active citizens.
  • Rather than transforming the media material in question, they use that content for essentially the same purposes for which it originally was intended—to instruct or to entertain.
  • four types of considerations mentioned in the law: the nature of the use, the nature of the work used, the extent of the use, and its economic effect (the so-called "four factors").
  • this guide addresses another set of issues: the transformative uses of copyright materials in media literacy education that can flourish only with a robust understanding of fair use
  • Lack of clarity reduces learning and limits the ability to use digital tools. Some educators close their classroom doors and hide what they fear is infringement; others hyper-comply with imagined rules that are far stricter than the law requires, limiting the effectiveness of their teaching and their students’ learning.
  • However, there have been no important court decisions—in fact, very few decisions of any kind—that actually interpret and apply the doctrine in an educational context.
  • But copying, quoting, and generally re-using existing cultural material can be, under some circumstances, a critically important part of generating new culture. In fact, the cultural value of copying is so well established that it is written into the social bargain at the heart of copyright law. The bargain is this: we as a society give limited property rights to creators to encourage them to produce culture; at the same time, we give other creators the chance to use that same copyrighted material, without permission or payment, in some circumstances. Without the second half of the bargain, we could all lose important new cultural work.
  • specific exemptions for teachers in Sections 110(1) and (2) of the Copyright Act (for "face-to-face" in the classroom and equivalent distance practices in distance education
  • Through its five principles, this code of best practices identifies five sets of current practices in the use of copyrighted materials in media literacy education to which the doctrine of fair use clearly applies.
  • Fair use is in wide and vigorous use today in many professional communities. For example, historians regularly quote both other historians’ writings and textual sources; filmmakers and visual artists use, reinterpret, and critique copyright material; while scholars illustrate cultural commentary with textual, visual, and musical examples.
  • Fair use is healthy and vigorous in daily broadcast television news, where references to popular films, classic TV programs, archival images, and popular songs are constant and routinely unlicensed.
  • many publications for educators reproduce the guidelines uncritically, presenting them as standards that must be adhered to in order to act lawfully.
  • Experts (often non-lawyers) give conference workshops for K–12 teachers, technology coordinators, and library or media specialists where these guidelines and similar sets of purported rules are presented with rigid, official-looking tables and charts.
  • this is an area in which educators themselves should be leaders rather than followers. Often, they can assert their own rights under fair use to make these decisions on their own, without approval.
  • ducators should share their knowledge of fair use rights with library and media specialists, technology specialists, and other school leaders to assure that their fair use rights are put into institutional practice.
  • In reviewing the history of fair use litigation, we find that judges return again and again to two key questions: • Did the unlicensed use "transform" the material taken from the copyrighted work by using it for a different purpose than that of the original, or did it just repeat the work for the same intent and value as the original? • Was the material taken appropriate in kind and amount, considering the nature of the copyrighted work and of the use?
  • When students or educators use copyrighted materials in their own creative work outside of an educational context, they can rely on fair use guidelines created by other creator groups, including documentary filmmakers and online video producers.
  • In all cases, a digital copy is the same as a hard copy in terms of fair use
  • When a user’s copy was obtained illegally or in bad faith, that fact may affect fair use analysis.
  • Otherwise, of course, where a use is fair, it is irrelevant whether the source of the content in question was a recorded over-the-air broadcast, a teacher’s personal copy of a newspaper or a DVD, or a rented or borrowed piece of media.
  • The principles are all subject to a "rule of proportionality." Educators’ and students’ fair use rights extend to the portions of copyrighted works that they need to accomplish their educational goals
  • Educators use television news, advertising, movies, still images, newspaper and magazine articles, Web sites, video games, and other copyrighted material to build critical-thinking and communication skills.
  • nder fair use, educators using the concepts and techniques of media literacy can choose illustrative material from the full range of copyrighted sources and make them available to learners, in class, in workshops, in informal mentoring and teaching settings, and on school-related Web sites.
  • Students’ use of copyrighted material should not be a substitute for creative effort
  • Where illustrative material is made available in digital formats, educators should provide reasonable protection against third-party access and downloads.
  • Teachers use copyrighted materials in the creation of lesson plans, materials, tool kits, and curricula in order to apply the principles of media literacy education and use digital technologies effectively in an educational context
  • Wherever possible, educators should provide attribution for quoted material, and of course they should use only what is necessary for the educational goal or purpose.
  • Educators using concepts and techniques of media literacy should be able to share effective examples of teaching about media and meaning with one another, including lessons and resource materials.
  • fair use applies to commercial materials as well as those produced outside the marketplace model.
  • curriculum developers should be especially careful to choose illustrations from copyrighted media that are necessary to meet the educational objectives of the lesson, using only what furthers the educational goal or purpose for which it is being made.
  • Curriculum developers should not rely on fair use when using copyrighted third-party images or texts to promote their materials
  • Students strengthen media literacy skills by creating messages and using such symbolic forms as language, images, sound, music, and digital media to express and share meaning. In learning to use video editing software and in creating remix videos, students learn how juxtaposition reshapes meaning. Students include excerpts from copyrighted material in their own creative work for many purposes, including for comment and criticism, for illustration, to stimulate public discussion, or in incidental or accidental ways
  • educators using concepts and techniques of media literacy should be free to enable learners to incorporate, modify, and re-present existing media objects in their own classroom work
  • Media production can foster and deepen awareness of the constructed nature of all media, one of the key concepts of media literacy. The basis for fair use here is embedded in good pedagogy.
  • Whenever possible, educators should provide proper attribution and model citation practices that are appropriate to the form and context of use.
  • how their use of a copyrighted work repurposes or transforms the original
  • cannot rely on fair use when their goal is simply to establish a mood or convey an emotional tone, or when they employ popular songs simply to exploit their appeal and popularity.
  • Students should be encouraged to make their own careful assessments of fair use and should be reminded that attribution, in itself, does not convert an infringing use into a fair one.
  • Students who are expected to behave responsibly as media creators and who are encouraged to reach other people outside the classroom with their work learn most deeply.
  • . In some cases, widespread distribution of students’ work (via the Internet, for example) is appropriate. If student work that incorporates, modifies, and re-presents existing media content meets the transformativeness standard, it can be distributed to wide audiences under the doctrine of fair use.
  • educators should take the opportunity to model the real-world permissions process, with explicit emphasis not only on how that process works, but also on how it affects media making.
  • educators should explore with students the distinction between material that should be licensed, material that is in the public domain or otherwise openly available, and copyrighted material that is subject to fair use.
  • ethical obligation to provide proper attribution also should be examined
  • Most "copyright education" that educators and learners have encountered has been shaped by the concerns of commercial copyright holders, whose understandable concern about large-scale copyright piracy has caused them to equate any unlicensed use of copyrighted material with stealing
  • This code of best practices, by contrast, is shaped by educators for educators and the learners they serve, with the help of legal advisors. As an important first step in reclaiming their fair use rights, educators should employ this document to inform their own practices in the classroom and beyond.
  • Many school policies are based on so-called negotiated fair use guidelines, as discussed above. In their implementation of those guidelines, systems tend to confuse a limited "safe harbor" zone of absolute security with the entire range of possibility that fair use makes available.
  • Using an appropriate excerpt from copyrighted material to illustrate a key idea in the course of teaching is likely to be a fair use, for example.
  • Indeed, the Copyright Act itself makes it clear that educational uses will often be considered fair because they add important pedagogical value to referenced media objects
  • So if work is going to be shared widely, it is good to be able to rely on transformativeness.
  • We don’t know of any lawsuit actually brought by an American media company against an educator over the use of media in the educational process.
John Evans

Podsafe Audio - Podcast Music for the Revolution: home - 1 views

podsafeaudio.com/...index.php

music audio songs podcast royalty free agreement

shared by John Evans on 18 May 09 - Cached
  • By submitting sound recordings or musical compositions or other audio and/or audio-visual content to us, you grant us, our affiliates, and our business partners a worldwide, royalty-free, nonexclusive license to: publicly perform, publicly display, broadcast, encode, edit, alter, modify, reproduce, transmit, manufacture, distribute and synchronize with visual images your material, in whole or in part, alone or in compilation with content provided by third parties, through any medium now known or hereafter devised for the purpose of demonstrating, promoting or distributing your material, to users seeking to download or otherwise acquire it and/or (ii) storing the work in a remote database accessible by users; Make your material accessible as audio and/or video streams; Use any trademarks, service marks or trade names incorporated into your material and use the likeness of any individual whose performance or image is contained in your material.
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