Skip to main content

Home/ Literacy with ICT/ Group items tagged section

Rss Feed Group items tagged

David McGavock

A social-media guide for public broadcasters targets the skeptical and the am... - 0 views

  • common resource for social-media best practices.
  • no common resource for social-media best practices.
  • The Corporation for Public Broadcasting wants to fill that gap with a newly released social media handbook for stations,
  • ...4 more annotations...
  • CPB commissioned the marketing firm iStrategy Labs to write a guide that targets a broad audience: not just the stations who need guidance, but the stations who still need convincing of social media’s value.
  • “There remains some hesitancy in public media toward embracing social media,”
  • includes fill-in-the-blank templates for creating social media campaigns, with sections for goals, staffing, tactics, and measurement.
  • suggestions for a station’s “voice” on social media
  •  
    A social-media guide for public broadcasters targets the skeptical and the ambitious Until now, hundreds of independent NPR and PBS affiliates have had no common resource for best practices in social media. By Andrew Phelps Even though NPR and PBS have social media policies (while other news organizations choose not to and still others debate their value), hundreds of independent public broadcasters have shared no common resource for social-media best practices. The Corporation for Public Broadcasting wants to fill that gap with a newly released social media handbook for stations, which is hosted at the National Center for Media Engagement website. CPB commissioned the marketing firm iStrategy Labs to write a guide that targets a broad audience: not just the stations who need guidance, but the stations who still need convincing of social media's value."
John Evans

What Kids Need From Grown-Ups (But Aren't Getting) : NPR Ed : NPR - 0 views

  •  
    "Erika Christakis' new book, The Importance of Being Little, is an impassioned plea for educators and parents to put down the worksheets and flash cards, ditch the tired craft projects (yes, you, Thanksgiving Handprint Turkey) and exotic vocabulary lessons, and double-down on one, simple word: NPR ED Why Kindergarten Is The New First Grade Play. That's because, she writes, "the distinction between early education and official school seems to be disappearing." If kindergarten is the new first grade, Christakis argues, preschool is quickly becoming the new kindergarten. And that is "a real threat to our society's future.""
John Evans

What The Screen Time Experts Do With Their Own Kids : NPR Ed : NPR - 2 views

  •  
    "Parents today struggle to set screen time guidelines. One big reason is a lack of role models. Grandma doesn't have any tried-and-true sayings about iPad time. This stuff is just too new. But many experts on kids and media are also parents themselves. So when I was interviewing dozens of them for my book The Art of Screen Time, I asked them how they made screen time rules at home. None of them held themselves up as paragons, but it was interesting to see how the priorities they focused on in their own research corresponded with the priorities they set at home."
John Evans

How To Talk With Kids About Terrible Things : NPR Ed : NPR - 3 views

  •  
    "For the more than 3,000 students at Marjory Stoneman Douglas High School, Wednesday's mass shooting was terrifying and life-changing. But what of the tens of millions of other children, in schools across the country, who have since heard about what happened and now struggle with their own feelings of fear, confusion and uncertainty? For their parents and teachers, we've put together a quick primer with help from the National Association of School Psychologists and Melissa Reeves, a former NASP president and co-author of its PREPaRE School Crisis Prevention and Intervention curriculum."
Phil Taylor

Laptops And Phones In The Classroom: Yea, Nay Or A Third Way? : NPR Ed : NPR - 2 views

  • Stommel, who's been engaged in many debates over laptop bans on Twitter, calls the issue "weirdly divisive" but also, in the end, "a red herring." Instead of an "authoritarian approach," he suggests a conversation.
Keri-Lee Beasley

Into Film - 1 views

  •  
    Great resource for all manner of things related to Film. From camera angles and shots to plans for running film clubs, this is a site worth diving into.
  •  
    A wealth of information can be found on this site for the exploration of film. Do check out the comprehensive Film Club section if you are thinking of running an ECA on film.
reviewsserviceit

Buy Facebook Reviews - Best Digital Marketing Agencies & Reviews Services Provider - 0 views

  •  
    Buy Facebook Reviews Introduction Facebook launched Reviews in 2013 to allow users to comment on nearby establishments, services, and goods. Anybody can post a review, and companies can reply to it. What Is a Facebook Reviews? Facebook reviews might be helpful when deciding whether to use a particular company. The more reviews a company has, the more chance you have of getting a true sense of what it's like to do business with them. Buy Facebook Reviews Finding the company's Page is the first step in leaving a review on Facebook. Scroll down till you see the "Reviews" section after arriving at the Page. After selecting the amount of stars you wish to award the company, enter your review and press "submit."
USA Yelp  Accounts

Buy Google Map Reviews-(Google 5 Stars Cheap) - 0 views

  •  
    Buy Google Map Reviews In today's digital age, Google Maps has become an essential tool for businesses of all sizes. It not only helps customers navigate and locate physical stores or establishments, but also serves as a platform for potential customers to gauge the quality and credibility of businesses. One way businesses can enhance their online presence and reputation on Google Maps is by purchasing reviews. While some might argue that buying reviews is unethical, others view it as a legitimate marketing strategy to boost their visibility and attract more customers. In this article, we will explore the concept of buying Google Map reviews, delve into its pros and cons, and discuss whether it should be considered as a viable option for businesses looking to thrive in the digital landscape. What are Google Map Reviews? A crucial component of the well-known navigational tool, Google Map evaluations let users express their ideas, insights, and opinions about a range of establishments and destinations. When someone is looking for advice, information, and insights before visiting a place, these reviews are a priceless resource. Google Map reviews give users a platform to score their experiences and write helpful remarks that can assist others make decisions, whether they're looking for a new restaurant to try, a hotel to book, or even a local destination to explore. Every Google Map review includes a written summary of the user's experience along with a star rating out of five, where five is the highest. Anyone utilizing Google Maps can read these reviews, making it an open and democratic forum for feedback sharing. In many cases, real-world instances and first-hand accounts from other travelers and clients are more dependable and credible than conventional commercials or official company websites. Google Map reviews ensure that consumers may make well-informed judgments based on trustworthy peer opinions and help users feel more connected to one another. The
buy5starshop4165

Buy Old Gmail Accounts - Bulk (PVA & Aged) - 0 views

  •  
    Looking to buy old Gmail accounts? Purchase authentic, aged Gmail accounts from reliable sources for various purposes. In today's digital age, having old Gmail accounts can offer numerous benefits. Whether you need them for marketing, SEO, or other online activities, aged accounts can provide a solid foundation for your endeavors. These accounts come with established reputations and can help you build credibility and trust with your audience. Buy Old Gmail Accounts
  •  
    When it comes to digital marketing and SEO strategies, old Gmail accounts can offer several benefits. These accounts, which have a history and established reputation, can be a valuable asset for businesses and marketers looking to enhance their online presence and outreach. In this section, we will delve into the specific advantages of acquiring old Gmail accounts for SEO and marketing purposes.
Clint Hamada

The Code of Best Practices in Fair Use for Media Literacy Education -- Publications --... - 8 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.
  • ...51 more annotations...
  • Media literacy is the capacity to access, analyze, evaluate, and communicate messages in a wide variety of forms. This expanded conceptualization of literacy responds to the demands of cultural participation in the twenty-first century.
  • Media literacy education helps people of all ages to be critical thinkers, effective communicators, and active citizens.
  • Rather than transforming the media material in question, they use that content for essentially the same purposes for which it originally was intended—to instruct or to entertain.
  • four types of considerations mentioned in the law: the nature of the use, the nature of the work used, the extent of the use, and its economic effect (the so-called "four factors").
  • this guide addresses another set of issues: the transformative uses of copyright materials in media literacy education that can flourish only with a robust understanding of fair use
  • Lack of clarity reduces learning and limits the ability to use digital tools. Some educators close their classroom doors and hide what they fear is infringement; others hyper-comply with imagined rules that are far stricter than the law requires, limiting the effectiveness of their teaching and their students’ learning.
  • However, there have been no important court decisions—in fact, very few decisions of any kind—that actually interpret and apply the doctrine in an educational context.
  • But copying, quoting, and generally re-using existing cultural material can be, under some circumstances, a critically important part of generating new culture. In fact, the cultural value of copying is so well established that it is written into the social bargain at the heart of copyright law. The bargain is this: we as a society give limited property rights to creators to encourage them to produce culture; at the same time, we give other creators the chance to use that same copyrighted material, without permission or payment, in some circumstances. Without the second half of the bargain, we could all lose important new cultural work.
  • specific exemptions for teachers in Sections 110(1) and (2) of the Copyright Act (for "face-to-face" in the classroom and equivalent distance practices in distance education
  • In reviewing the history of fair use litigation, we find that judges return again and again to two key questions: • Did the unlicensed use "transform" the material taken from the copyrighted work by using it for a different purpose than that of the original, or did it just repeat the work for the same intent and value as the original? • Was the material taken appropriate in kind and amount, considering the nature of the copyrighted work and of the use?
  • Fair use is in wide and vigorous use today in many professional communities. For example, historians regularly quote both other historians’ writings and textual sources; filmmakers and visual artists use, reinterpret, and critique copyright material; while scholars illustrate cultural commentary with textual, visual, and musical examples.
  • Fair use is healthy and vigorous in daily broadcast television news, where references to popular films, classic TV programs, archival images, and popular songs are constant and routinely unlicensed.
  • many publications for educators reproduce the guidelines uncritically, presenting them as standards that must be adhered to in order to act lawfully.
  • Experts (often non-lawyers) give conference workshops for K–12 teachers, technology coordinators, and library or media specialists where these guidelines and similar sets of purported rules are presented with rigid, official-looking tables and charts.
  • this is an area in which educators themselves should be leaders rather than followers. Often, they can assert their own rights under fair use to make these decisions on their own, without approval.
  • ducators should share their knowledge of fair use rights with library and media specialists, technology specialists, and other school leaders to assure that their fair use rights are put into institutional practice.
  • Through its five principles, this code of best practices identifies five sets of current practices in the use of copyrighted materials in media literacy education to which the doctrine of fair use clearly applies.
  • When students or educators use copyrighted materials in their own creative work outside of an educational context, they can rely on fair use guidelines created by other creator groups, including documentary filmmakers and online video producers.
  • In all cases, a digital copy is the same as a hard copy in terms of fair use
  • When a user’s copy was obtained illegally or in bad faith, that fact may affect fair use analysis.
  • Otherwise, of course, where a use is fair, it is irrelevant whether the source of the content in question was a recorded over-the-air broadcast, a teacher’s personal copy of a newspaper or a DVD, or a rented or borrowed piece of media.
  • The principles are all subject to a "rule of proportionality." Educators’ and students’ fair use rights extend to the portions of copyrighted works that they need to accomplish their educational goals
  • Educators use television news, advertising, movies, still images, newspaper and magazine articles, Web sites, video games, and other copyrighted material to build critical-thinking and communication skills.
  • nder fair use, educators using the concepts and techniques of media literacy can choose illustrative material from the full range of copyrighted sources and make them available to learners, in class, in workshops, in informal mentoring and teaching settings, and on school-related Web sites.
  • Whenever possible, educators should provide proper attribution and model citation practices that are appropriate to the form and context of use.
  • Where illustrative material is made available in digital formats, educators should provide reasonable protection against third-party access and downloads.
  • Teachers use copyrighted materials in the creation of lesson plans, materials, tool kits, and curricula in order to apply the principles of media literacy education and use digital technologies effectively in an educational context
  • Wherever possible, educators should provide attribution for quoted material, and of course they should use only what is necessary for the educational goal or purpose.
  • Educators using concepts and techniques of media literacy should be able to share effective examples of teaching about media and meaning with one another, including lessons and resource materials.
  • fair use applies to commercial materials as well as those produced outside the marketplace model.
  • curriculum developers should be especially careful to choose illustrations from copyrighted media that are necessary to meet the educational objectives of the lesson, using only what furthers the educational goal or purpose for which it is being made.
  • Curriculum developers should not rely on fair use when using copyrighted third-party images or texts to promote their materials
  • Students strengthen media literacy skills by creating messages and using such symbolic forms as language, images, sound, music, and digital media to express and share meaning. In learning to use video editing software and in creating remix videos, students learn how juxtaposition reshapes meaning. Students include excerpts from copyrighted material in their own creative work for many purposes, including for comment and criticism, for illustration, to stimulate public discussion, or in incidental or accidental ways
  • educators using concepts and techniques of media literacy should be free to enable learners to incorporate, modify, and re-present existing media objects in their own classroom work
  • Media production can foster and deepen awareness of the constructed nature of all media, one of the key concepts of media literacy. The basis for fair use here is embedded in good pedagogy.
  • Students’ use of copyrighted material should not be a substitute for creative effort
  • how their use of a copyrighted work repurposes or transforms the original
  • cannot rely on fair use when their goal is simply to establish a mood or convey an emotional tone, or when they employ popular songs simply to exploit their appeal and popularity.
  • Students should be encouraged to make their own careful assessments of fair use and should be reminded that attribution, in itself, does not convert an infringing use into a fair one.
  • Students who are expected to behave responsibly as media creators and who are encouraged to reach other people outside the classroom with their work learn most deeply.
  • . In some cases, widespread distribution of students’ work (via the Internet, for example) is appropriate. If student work that incorporates, modifies, and re-presents existing media content meets the transformativeness standard, it can be distributed to wide audiences under the doctrine of fair use.
  • educators should take the opportunity to model the real-world permissions process, with explicit emphasis not only on how that process works, but also on how it affects media making.
  • educators should explore with students the distinction between material that should be licensed, material that is in the public domain or otherwise openly available, and copyrighted material that is subject to fair use.
  • ethical obligation to provide proper attribution also should be examined
  • Most "copyright education" that educators and learners have encountered has been shaped by the concerns of commercial copyright holders, whose understandable concern about large-scale copyright piracy has caused them to equate any unlicensed use of copyrighted material with stealing
  • This code of best practices, by contrast, is shaped by educators for educators and the learners they serve, with the help of legal advisors. As an important first step in reclaiming their fair use rights, educators should employ this document to inform their own practices in the classroom and beyond.
  • Many school policies are based on so-called negotiated fair use guidelines, as discussed above. In their implementation of those guidelines, systems tend to confuse a limited "safe harbor" zone of absolute security with the entire range of possibility that fair use makes available.
  • Using an appropriate excerpt from copyrighted material to illustrate a key idea in the course of teaching is likely to be a fair use, for example.
  • Indeed, the Copyright Act itself makes it clear that educational uses will often be considered fair because they add important pedagogical value to referenced media objects
  • So if work is going to be shared widely, it is good to be able to rely on transformativeness.
  • We don’t know of any lawsuit actually brought by an American media company against an educator over the use of media in the educational process.
« First ‹ Previous 181 - 195 of 195
Showing 20 items per page