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John Evans

12 Tech-Savvy Educators' Favorite Apps | Scholar Space - 3 views

content.easybib.com/h-savvy-educator-favorite-apps

educators favorite apps scholar space

shared by John Evans on 27 Nov 14 - No Cached
  • John Evans on 27 Nov 14
     
    "Want to know which applications the top 12 tech-savvy educators love? Find out which tech apps are great for organizing classes, managing lessons and can save you time in your everyday busy life!"
John Evans

Digital Tools Can't Magically Create Connections | DMLcentral - 1 views

dmlcentral.net/...t-magically-create-connections

tools connections lives teens danahboyd

shared by John Evans on 26 Aug 14 - No Cached
  • John Evans on 26 Aug 14
     
    "One of the best perks of supporting the Los Angeles Central Library is advanced notice of the readings and talks coming through town as part of their ALOUD program. A few months ago, when I noticed that danah boyd was going to be talking about her recent book, "It's Complicated: The Social Lives of Networked Teens," with USC Professor and Connected Learning pioneer, Henry Jenkins, I snapped up a ticket. The talk took place at the end of July, and the ideas that these two scholars expressed about how young people are interacting with digital tools are still rattling around in my mind, inviting further exploration. "
John Evans

Privacy Concerns for ClassDojo and Other Tracking Apps for Schoolchildren - NYTimes.com - 4 views

www.nytimes.com/...g-apps-for-schoolchildren.html

privacy concerns tracking apps nytimes

shared by John Evans on 17 Nov 14 - No Cached
  • John Evans on 17 Nov 14
     
    "Many teachers say the app helps them automate the task of recording classroom conduct, as well as allowing them to communicate directly with parents. But some parents, teachers and privacy law scholars say ClassDojo, along with other unproven technologies that record sensitive information about students, is being adopted without sufficiently considering the ramifications for data privacy and fairness, like where and how the data might eventually be used."
John Evans

How To Weave Growth Mindset Into School Culture | MindShift | KQED News - 3 views

ww2.kqed.org/...th-mindset-into-school-culture

mindset growth motivation

shared by John Evans on 04 Oct 15 - No Cached
  • John Evans on 04 Oct 15
     
    "Adilene Rodriguez admits she has always struggled with academics. Especially in middle school she hated getting up early, found her classes boring and didn't really see where it was all going. When she started her freshman year at Arroyo High School in San Lorenzo, California, just south of Oakland, she was a shy student who rarely spoke up in class and had little confidence in herself as a scholar. Rodriguez is now a senior and her approach to school has changed dramatically over her high school career. She attributes her shift to her freshman science teacher, Jim Clark, who taught the class about growth mindset from the very beginning and backed up the discussion with action. "He would tell me, 'You need to push yourself, that's how you're going to grow. Be confident. You're not always going to be successful on your first tries, but you can get there,' " Rodriguez said"
John Evans

​Engineers, Recruiters and Professors Weigh In: Future Programmers Need Writi... - 1 views

www.edsurge.com/...ammers-need-writing-skills-too

engineers professors programmers future writing

shared by John Evans on 12 Oct 17 - No Cached
  • John Evans on 12 Oct 17
     
    "Coding and computer science have yet to make their way into every school curriculum in the U.S. But the country isn't short on initiatives-such as Google's Code Next program or the White House's Obama era Computer Science For All campaign-which aim to change that. And while these programs attempt to arm students will the ability to code, they sometimes overlook a critical skill that developers, computer science scholars and tech recruiters say is key to landing a job in their field: writing."
John Evans

High Schools to TikTok: We're Catching Feelings - The New York Times - 1 views

www.nytimes.com/...high-school-tiktok-clubs.html

new york times TIkTOk app high schools

shared by John Evans on 21 Oct 19 - No Cached
  • John Evans on 21 Oct 19
     
    "WINTER GARDEN, Fla. - On the wall of a classroom that is home to the West Orange High School TikTok club, large loopy words are scrawled across a whiteboard: "Wanna be TikTok famous? Join TikTok club." It's working. "There's a lot of TikTok-famous kids at our school," said Amanda DiCastro, who is 14 and a freshman. "Probably 20 people have gotten famous off random things." The school is on a quiet palm-tree-lined street in a town just outside Orlando. A hallway by the principal's office is busy with blue plaques honoring the school's A.P. Scholars. Its choir director, Jeffery Redding, won the 2019 Grammy Music Educator Award. Amanda was referring to a different kind of stardom: on TikTok, a social media app where users post short funny videos, usually set to music, that is enjoying a surge in popularity among teenagers around the world and has been downloaded 1.4 billion times, according to SensorTower. "
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

Video Games in Education - 9 views

74.125.155.132/scholar

video games education research paper abstract

shared by John Evans on 01 May 10 - No Cached
  • John Evans on 01 May 10
     
    Video Games in Education Kurt Squire Comparative Media Studies Department, 14N-205 Massachusetts Institute of Technology, Cambridge, MA. 02139 USA Email: KSQUIRE@MIT.EDU
David McGavock

MediaShift . Learning in a Digital Age: Teaching a Different Kind of Literacy | PBS - 0 views

www.pbs.org/...erent-kind-of-literacy277.html

literacy digital education DigitalLiteracy

shared by David McGavock on 11 Oct 11 - No Cached
  • "Education," scholar and writer Ralph Ellison once said, "is a matter of building bridges." And perhaps, no bridge is more important than the bridge to the future. As educators, it's our responsibility to prepare students for the world of tomorrow. Yet tomorrow isn't what it used to be.
  • How do we prepare students for work that hasn't been invented yet? While it's difficult to predict what the social and economic climate will be like in the years to come, we can analyze trends and extrapolate future scenarios.
  • While these 21st century skills are essential, they aren't enough. There is a growing expectation for these abilities to be leveraged and expressed using digital tools.
  • ...6 more annotations...
  • Our global environmental, economic and social challenges require non-standardized skills such as creativity, problem-solving and collaboration.
  • literacy vs. technical skills
  • While a certain amount of technical skills are important, the real goal should be in cultivating digital or new media literacies that are arising around this evolving digital nerve center. These skills allow working collaboratively within social networks, pooling knowledge collectively, navigating and negotiating across diverse communities, and critically analyzing and reconciling conflicting bits of information to form a clear and comprehensive view of the world.
  • These new media literacy skills are expanding our definitions of literacy but must be cultivated from the foundation of traditional literacy.
  • "Traditionally we wouldn't consider someone literate if they could read but not write. And today we shouldn't consider someone literate if they can consume but not produce media."
    • David McGavock
      David McGavock on 11 Oct 11
       
      Key point
  • Those of us living in this digital age are required to learn, unlearn and learn again and again.
  • David McGavock on 11 Oct 11
     
    How do we prepare students for work that hasn't been invented yet? While it's difficult to predict what the social and economic climate will be like in the years to come, we can analyze trends and extrapolate future scenarios.
Phil Taylor

Computational Thinking: I do not think it means what you think it means - Medium - 1 views

medium.com/...ou-think-it-means-6d39e854fa90

computational thinking

shared by Phil Taylor on 16 Mar 16 - No Cached
  • The Wing 2006 Viewpoint has been tremendously influential in the computational-thinking narrative (the paper had 1,841 citations, when checked Mar. 4, 2016 on Google Scholar). But it took us on a detour from the original, powerful idea envisioned by Seymour Papert more than 30 years ago.
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