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John Evans

5 Awesome TV and Movie Robots You Can Build With a Raspberry Pi - 1 views

www.makeuseof.com/...some-robots-build-raspberry-pi

Raspberry Pi TV Movie Robots build projects makered

shared by John Evans on 01 Dec 17 - No Cached
  • John Evans on 01 Dec 17
     
    "With so many Raspberry Pi projects to choose from, it can be tricky to find the one you really want to build. Our advice is to find a way to marry the Pi with something you really love. One great example is TV and movie robots - iconic characters from popular sci-fi that can be rebuild at home with a Raspberry Pi built in. Once constructed, your robot might be able to utter commands when a condition is met (perhaps a sensor detects motion). Or it might move around, learning about its surroundings, or reading information to you from Wikipedia. Whatever you have in mind, it should be relatively straightforward to plan and execute. It may take some time, however. Here are five example projects that show how you can combine a Raspberry Pi 2 or later with your favorite fictional robot. 5 Things Only a Raspberry Pi 2 Can Do 5 Things Only a Raspberry Pi 2 Can Do The latest edition of the pint-sized computer is awesome. So awesome, in fact, that there's 5 things you can only do on a Raspberry Pi 2. READ MORE 1. R2-D2 We've all wanted our very own astromech droid, haven't we? Sure, no one on earth is (currently) operating a light speed drive, but Star Wars droid R2-D2 has far greater abilities than onboard spacecraft maintenance. For instance, he can hold torches, carry a tray of drinks, and launch lightsabers across pits in the desert. Okay, it's unlikely you'll manage to get your own R2-D2 robot to do that… but don't let that put you off. Check out this little guy, controlled by a Raspberry Pi. While this project was based on an existing R2-D2 toy, that shouldn't limit your ambition. You'll find plenty of R2-D2 builds on YouTube. There's a massive R2-D2 building community online. Finding one that has a drive unit should be ideal for integrating a Raspberry Pi (and perhaps an Arduino, which you can use the two together) and developing a more realistic R2-D2 experience. Arduino vs Raspberry Pi: Which Is The Mini Computer For You? Arduino vs Rasp
John Evans

Labyrinth - 13 views

labyrinth.thinkport.org/...educators.php

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shared by John Evans on 10 Jan 10 - Cached
  • Lure of the Labyrinth is a digital game for middle-school pre-algebra students. It includes a wealth of intriguing math-based puzzles wrapped into an exciting narrative game in which students work to find their lost pet - and save the world from monsters! Linked to both national and state mathematics standards, the game gives students a chance to actually think like mathematicians.
  • Before Bringing Labyrinth Into Your ClassroomPlan for SuccessThink About TechnologyThink About Your RoleSet Up Your Teams and Class Lists
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

Education Week: Students Turn Their Cellphones On for Classroom Lessons - 0 views

www.edweek.org/...16cellphone.h28.html

students cellphones classroom cellphone mobiledevice

shared by John Evans on 19 Feb 09 - Cached
  • New educational uses of cellphones are challenging the "turned off and out of sight" rules that many districts have adopted for student cellphones on campus.
  • A growing number of teachers, carefully navigating district policies and addressing their own concerns, are having students use their personal cellphones to make podcasts, take field notes, and organize their schedules and homework
  • "In our district, especially at high school, students have a cellphone on them at all times, just like a pencil—it's an underused too
  • ...5 more annotations...
  • Podcasting and classroom-response systems are among the more than 100 uses of cellphones that educator Liz Kolb has collected, and in some cases invented, for her book Toys to Tools: Connecting Student Cell Phones to Education, published in October.
  • One key to the cellphone's usefulness is the wealth of Web-based services that have cropped up recently, not necessarily marketed for schools but generally free in their basic versions. "Of course, they all have premium upgrades, or if they don't have upgrades, you see ads," Ms. Kolb cautioned.
  • In addition, Web-based organizers are available to bail out disorganized adolescents. For example, Soshiku, a service launched in September 2008 by Montana 17-year-old Andrew Schaper, lets users log their school assignments via e-mail or text messages. Students, including partners in joint projects, can arrange to receive "assignment due" notices to their cellphones or e-mail accounts.
  • "Mobile citizen journalism" is another popular trend that schools can harness, Ms. Kolb said, though she did not know of any school newspapers doing it extensively yet. "Schools can definitely set up their own mobile journalism text-messaging numbers," so students who are traveling can phone in reports and images, especially if they find themselves in the midst of breaking news.
  • Even with standard cellphones, she said, educators must make sure that all students understand the price structure of their calling plans, including the number of text messages that they can send and receive at no additional charge.
John Evans

Interactive Teaching Programs (ITPs) - 0 views

www.standards.dfes.gov.uk/...itps

mathematics math technology examples modeling exploration resources primary

shared by John Evans on 03 Feb 09 - Cached
  • John Evans on 03 Feb 09
     
    These programs have been developed by the Primary National Strategy to provide simple ICT-based images to support modelling, demonstration and exploration of mathematics.
Andy McKiel

Arcademic Skill Builders - 3 views

www.arcademicskillbuilders.com

math gaming

shared by Andy McKiel on 22 May 08 - Cached
  • John Evans on 22 May 08
     
    Our educational video games offer an innovative approach to teaching basic academic skills by incorporating features of arcade games and educational practices into fun online games that will motivate, intrigue, and teach your students.
  • Rob McDonald on 26 Apr 09
     
    Arcademic Skill Builders are research-based and standards-aligned educational games that offer an innovative approach to teaching basic academic skills. We incorporate features of arcade games and educational practices into fun online games that will engage, motivate, and teach your students.
  • Andy McKiel on 14 Jan 10
     
    Great browser-based math games for early/middle years students
John Evans

MSP:MiddleSchoolPortal - NSDLWiki - 1 views

wiki.nsdl.org/...MSP:MiddleSchoolPortal

middleschoolportal nsdlwiki math science wiki resources MY

shared by John Evans on 17 Nov 10 - No Cached
  • The Middle School Portal 2: Math and Science Pathways (MSP2) project supports middle grades educators with high-quality, standards-based resources and promotes collaboration and knowledge-sharing among its users. Educators use MSP2 to increase content knowledge in science, mathematics, and appropriate pedagogy for youth ages 10 to 15. MSP2 employs social networking and digital tools to foster dynamic experiences that promote creation, modification, and sharing of resources, facilitate professional development, and support the integration of technology into practice.
glenold02

Whatsapp : (+971553688641)Buy PMP certificate in USA, Buy PMP certificate in CHINA - Bu... - 0 views

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started by glenold02 on 05 Dec 20 no follow-up yet
glenold02

purchase ielts certificate without exam | Real IELTS Certificate - 0 views

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shared by glenold02 on 05 Dec 20 - No Cached
  • glenold02 on 05 Dec 20
     
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