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Phil Taylor

Educational Leadership:Learning in the Digital Age:The New WWW: Whatever, Whenever, Whe... - 10 views

www.ascd.org/...tever,_Whenever,_Wherever.aspx

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shared by Phil Taylor on 09 Feb 10 - Cached
  • counteract the New WWW's potentially harmful impact on youth, educators must use technology to create learning experiences that are real, rich, and relevant.
  • Next will come 4G, in which data rates are expected to be 100 times faster than those in this first 3G wave. As the delivery platform of broadband content and functionality shifts from computer to personal device, we will be surrounded by a multimedia aura that accompanies us wherever we go
  • The plan is that you'll use your phone to spend money everywhere, all the time.
  • ...8 more annotations...
  • What choices do we expect them to make if their pockets are loaded with cash and the shelves bulge with penny candy—especially when there's no parent in sight? The choice won't be between yes and no, but between what kind? and what next? Maybe someone needs to watch over this New WWW.
  • We can “hand students over to themselves.” We can engage them in the joys of learning, of making meaning, of being part of something larger than themselves, of testing themselves against authentic challenges. We can shift them from passivity and consumption to action and creativity. And believe it or not, the New WWW can help us.
  • engaging in personally meaningful actions, and performing service to something larger than themselves.
  • we must also acknowledge that schools have too much of both. But the joy of learning has neither! One of the most powerful definitions of teaching I know comes from Maria Harris: “Teaching is the creation of a situation in which subjects, human subjects, are handed over to themselves”
  • Children believe that getting whatever they want will make them happy. As adults, we know otherwise.
  • New WWW shifts learning power to the students themselves.
  • students can demonstrate their learning in a persuasive essay, a sardonic blog, a moving short film, a robust wiki entry, or a humorous podcast, why would we demand deadening conformity?
  • I call this kind of Web site a ClassAct Portal: Class because the site involves a whole class of students; Act because it supports authentic, active learning; ClassAct because it provides a real-world forum for students to exercise their best efforts; and Portal because the site serves as a window to resources, information, activities, and communities.
John Evans

5 Reasons Why Educators Should Network - 6 views

www.convergemag.com/...-Educators-Should-Network.html

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shared by John Evans on 26 Jan 10 - Cached
  • educational isolation is still prevalent in public schools today.
  • Here's why educators should start a personal learning network, or PLN.
  • 1. To learn with others
  • ...4 more annotations...
  • 2. To serve your students
  • 3. To access a dynamic resource
  • 4. To extend your learning base
  • 5. To stay engaged in education
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
  • 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.
John Evans

Flickr: Smarthistory - 8 views

www.flickr.com/...smarthistory

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shared by John Evans on 21 May 10 - Cached
  • The Smarthistory flickr group gathers pictures of artworks on location to enrich the information on smarthistory.org. Smarthistory is a multi-media website that serves as an enhancement or replacement for the traditional art history textbook. Look at www.smarthistory.org/Red-Studio.html for an example.
Phil Taylor

Reports of the death of the whiteboard are much exaggerated.. « Education, Te... - 3 views

mattpearson.org/...hiteboard-are-much-exaggerated

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shared by Phil Taylor on 06 Jun 11 - No Cached
  • 1: Having an IWB in your classroom is about having a platform for content. Teachers need software to assemble content for lessons and increasingly this content is multimedia in nature with the need to integrate text, images, video, audio and flash type content.
  • address the root cause of why a teacher allows a particular instructional practice to dominate and then find a way for the  technology to serve pedagogical practice rather than driving it.
  • This is not normally the individual teacher’s fault, it was a systemic failure to address training and professional development when the boards were first going into UK classrooms
John Evans

NCTE Framework for 21st Century Curriculum and Assessment - 0 views

www.ncte.org/...21stcenturyframework

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shared by John Evans on 15 Jul 09 - Cached
  • Tod Baker on 15 Jul 09
     
    The selected standards, listed in the appendix, served as a clarion call for changes underway today in literacy education.
John Evans

Museum 2.0: Educational Uses of Back Channels for Conferences, Museums, and Informal Le... - 0 views

museumtwo.blogspot.com/...uses-of-back-channels-for.html

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shared by John Evans on 12 May 09 - Cached
  • The back channel isn’t just a social space. I noted three distinct, valuable uses of back channels at WebWise:To communicate socially in an environment that does not permit open dialogue. This is the "note passing" or flirting use case.To share your onsite experience with a network of people who are not co-located with you. Where the first use case serves co-located people, this use case focuses on broadcasting the highlights of your experience to friends elsewhere.To investigate a content experience more deeply using a different set of tools than those used to convey the content. For example, you may listen to a speaker and check out related links from his work as he talks.
  • John Evans on 12 May 09
     
    Many museums are experimenting with "back channel" platforms that allow visitors and staff to chat and share content while onsite at the museum
John Evans

MEDIA LITERACY ONLINE PROJECT GATEWAY - 2 views

mlop.proscenia.net

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shared by John Evans on 03 May 11 - No Cached
  • The Media Literacy Online Project and the Media Literacy Review are no longer maintained as Internet sites. Both served their purpose and now, with so many excellent resources online, it has come time to close both projects. We are keeping this single page updated as a gateway to resources educators find of value.
John Evans

iCouldBe - 2 views

www.icouldbe.org/...lm_index.asp

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shared by John Evans on 23 Jun 11 - No Cached
  • Since 2000, icouldbe.org has grown to meet the educational and career needs of more than 20,000 students, serving more than 2,300 students a year and pioneering programs around the world. We connect the energy and expertise of mentors from hundreds of professions with the most vulnerable students in our educational system – those that are most at-risk or most in need. The close relationships between mentors and mentees encourage students to stay in school and commit to working towards their career and educational goals. A pioneer in creating safe learning environments online, our curriculum points students in the direction they want to go, focusing on educational planning and career exploration, and includes modules in community service and financial literacy.
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How to Cut Down on Unwanted Email? - 0 views

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shared by tech vedic on 17 Jul 13 - No Cached
  • tech vedic on 17 Jul 13
     
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Sheri Oberman

Change Article Brief: Development of Teaching Practices Inventory as Proxy for Eval - 1 views

tomprof.standford.edu/...1446

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shared by Sheri Oberman on 17 Nov 15 - No Cached
  • Sheri Oberman on 17 Nov 15
     
    The posting below looks at a new approach to evaluating teaching. It is by Carl Wieman a professor of physics and of the Graduate School of Education at Stanford University. He is the founder of the Carl Wieman Science Education Initiative (CWSEI) at the University of British Columbia and the Science Education Initiative at the University of Colorado. He is a Nobel Laureate in Physics and served as the Associate Director for Science in the White House Office of Science and Technology Policy. Cwieman@stanford.edu, 650 - 497-3491. The posting is a condensed version of a substantially longer article that appeared in the January, 2015 issue of Change Magazine. http://www.changemag.org Regards, Rick Reis
John Evans

How much caffeine is in Red Bull, Starbucks, coffee, tea, soda? - Business Insider - 1 views

www.businessinsider.com/caffeine-daily-serving-2017-6

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shared by John Evans on 26 Jun 17 - No Cached
  • John Evans on 26 Jun 17
     
    "And you thought Red Bull was bad. It turns out that while a can of the energy drink has 80 milligrams of caffeine, a small cup of Starbucks drip coffee has more than three times that amount. Since many beverages don't show their caffeine content, it can be tough to make sure you're not overdoing it - and the Mayo Clinic advises adults to limit their caffeine intake to 400 mg per day. More than that and you run the risk of unpleasant side effects ranging from migraine headaches to irritability, upset stomach, and even muscle tremors"
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Techgroundforme | Serving Peoples In Digital Era | - 0 views

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shared by shakoor7656 on 15 Oct 21 - No Cached
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  • shiyambabu on 26 Jul 23
     
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Buy negative google reviews-Reviews will be ⭐ star... - 0 views

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