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Tom Stimson

Smarthistory - 0 views

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    Smarthistory.org is a free multi-media web-book designed as a dynamic enhancement (or even substitute) for the traditional art history textbook.
John Evans

New Poster: Explaining SAMR Model Through Google Apps ~ Educational Technology and Mobi... - 2 views

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    "Here is another great find today from Google Apps Action. Davis created this excellent visual illustrating how to integrated SAMR model using Google Apps. She made use of two main apps: Google Docs and Google Hangout, and for each of the SAMR levels (substitution, Augmentation, Modification, and Redefinition) she provided an example of a task together with the app to do it. To me, the strength of this work lies in the task samples mentioned here. Teachers can repurpose them and try them with their own students in class. I also find the simple explanation of each of the SAMR levels quite helpful and  would help those new to SAMR better understand the philosophy underlying this conceptual framework."
John Evans

Check Out My 2-Minute Illustrated Video on the SAMR Model | Spencer Ideas - 0 views

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    "Here's a sketchy video I created for my technology pedagogy course. I have mixed feelings about SAMR, because it often implies that "lower levels" are not as good when often substitution works well. Royan Lee picked this apart well. I also think there are times when the best option involves avoiding technology. For example, there are times when sketching something by hand teaches observational skills better than using a camera. However, I still see a real benefit in the SAMR model, in terms of thinking about the transformative power of technology."
John Evans

The Big Picture Of Education Technology: The Padagogy Wheel - 7 views

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    "Teaching is a matter of design. That's not new, but in an era of change and possibility, it's more apparent now than ever. The SAMR model (which acts as a kind of continuum to reflect the possibilities of technology in learning) is a helpful tool to make sense of this idea, a visual reminder that ideally technology moves beyond Substitution phase (the "S") towards a Redefinition (the "R") of what was previously impossible without it. This, among other shifts, will help fully realize the potential of learning technology. When you take a Bloom's wheel, and smash it together with 60+ educational apps that allows learners to brainstorm, collaborate, research, create, curate, and create new knowledge-well, you have the image below, courtesy of Allan Carrington of Designing Outcomes."
John Evans

Teaching Kids to Code: Text-Based vs Block-Based Programming - 4 views

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    "About two decades ago The MIT Media lab introduced the concept of block-based programming. The idea was to develop an interface that allowed computer programs to be built by simply dragging and dropping puzzle blocks to represent complex programming constructs and commands. With this new method for teaching and learning computer science, the hugely popular Scratch platform was born. This approach lowered the bar for experimenting with programmatic thinking, making it possible for students to create interactive animations and small games without writing a single line of code. This simple concept removed the need to learn the syntax of a formal programming language, and made teaching and learning the basics of computer science accessible to younger learners and to teachers with no formal coding background. Outside of the classroom though, coding has always been, and still remains, a process of typing letters, numbers and symbols. This text-based programming, used in programming language such as C, Javascript and Python, requires coders to obey and conform to formal syntax. Despite the pain of dealing with typos in names of variables and inevitable syntax errors, no other coding method designed to be more "user friendly" has really caught on. Tools have been offered for managers to define business logic through a graphical user interface without writing lines of codes. Or for web developers to add interactive behaviors to their websites without learning Javascript. But in reality, neither of those substitute the power and flexibility of text-based programming. And with neither winning significant adoption, the demand for the classic skill of text-based coding continues to grow and grow."
John Evans

Using The SAMR Model To Frame How To Teach With Apps - 0 views

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    "Not all apps are created equal. Not all teacher planning and instructional design are created equal. Mash the two, and we're beginning to see the opportunity for some real disparity. In response, we've taken the popular SAMR model and use it as a framework to understand how to better teach with apps. This post started as a look at "app workflow"-the patterns of student and teacher interaction, the movement of learning artifacts, the visibility of quality criteria, assessment results, and so on, but we thought it might be better to start with some concrete examples of the movement from basic technology integration-in this case, apps-to that which redefines the learning process entirely. Below, then, are 21 ways apps can be used to teach-and learn-with varying degrees of ambition, from mere substitution of existing teaching practices, all the way to full-on redefinition of what's possible. (This post also presumes you're familiar with the SAMR model-if not, here's a good primer.)"
John Evans

To Your Brain, Audiobooks Are Not 'Cheating' -- Science of Us - 1 views

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    As is required of all women in their 30s, I am in a book club. At the first meeting of this group, one poor unsuspecting woman mentioned that she had listened to that month's selection instead of reading it. That, the rest of the group decided together, is definitely cheating. Never mind that no one could exactly articulate how or why it was cheating; it just felt like it was, and others would agree. She never substituted the audiobook for the print version again (or, if she did, she never again admitted it). This question - whether or not listening to an audiobook is "cheating" - is one University of Virginia psychologist Daniel Willingham gets fairly often, especially ever since he published a book, in 2015, on the science of reading. (That one was about teaching children to read; he's got another book out next spring about adults and reading.) He is very tired of this question, and so, recently, he wrote a blog post addressing it. (His opening line: "I've been asked this question a lot and I hate it.") If, he argues, you take the question from the perspective of cognitive psychology - that is, the mental processes involved - there is no real difference between listening to a book and reading it. So, according to that understanding of the question: No, audiobooks are not cheating.
John Evans

New Forms of Reading and Writing | Silvia Tolisano- Langwitches Blog - 1 views

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    "As I am coaching teachers in learning how to learn and teach FOR the 22nd century, I realize that the gap between being able to read traditional forms of information, communications materials in geneal and reading on new platforms, in new genres and in general new digital forms is widening drastically. Not too long ago, I wrote a post titled, Our Notion of Literacy and Iliteracy Calls for an Update.  I define literacy as the ability to read and write and being able to express and communicate our ideas to others. So, in our world, which is BOTH analog AND digital, we need to be literate in both. Especially if we are educators, in charge of teaching our students to be literate for THEIR future. The digital world is not going away, nor can it be ignored in terms of being and staying (critically) informed, lifelong learning, communicating, connecting, collaborating and contributing. One realisation for me was that new forms of reading and writing did not ONLY have to do with the skillset of learning the logistics of how to read and write on digital platforms, but had EVERYTHING to do with a new mindset that allows for new forms of reading and writing versus merely substituting the way we have done it in analog form before."
John Evans

There's No Such Thing as Being Bad at Math: How Neuroscience Is Changing the Equation |... - 1 views

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    "Imagine a parent telling a child, "I'm just not a reading person." Sounds odd, doesn't it? Now reread the same cartoon, substituting "math" for "reading." Suddenly it doesn't seem so absurd. But it should! As a society ever more reliant on technology and STEM-based careers, we must shatter the myth that math skill is inborn and reinforce that it is the result of intention and practice. It's common to hear well educated adults declare themselves "not a math person," sometimes proudly. Indeed, many people of all ages believe that mathematical ability is something you are either born with or not, rather than something to be mastered with focused effort. This belief is wrong. What's more, it's harmful to kids as they have their first experiences learning math; the attitude that "I can't learn math" quickly becomes a self-fulfilling prophecy. As a society ever more reliant on technology and STEM-based careers, we must shatter the myth that math skill is inborn and reinforce that it is the result of intention and practice. Reforming these perceptions needs to be a priority for teachers, parents, and creators of new learning tools that align to the way these digital-savvy students learn."
John Evans

How A Classroom Of iPads Changed My Approach To Learning - Edudemic - 5 views

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    "By recognizing that our prior experience with ICT had created paradigms that constrained our thinking, we are starting to glimpse new learning opportunities made possible by one-to-one integration of iPads. Rather than viewing iPads as substitutes for other technologies (including paper), it is our view that iPads can be used as tools and environments for learning that allow for deeper and more diverse engagements.  Our journey with iPads in learning continues."
John Evans

The Global Search for Education: Which Digital Device Is Best? | C. M. Rubin - 1 views

  • However, without a shift in pedagogical practice, the device and space are rendered nothing more than substitutive tools in nature.
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    "Which digital device is the better learning tool for students - a Chromebook or an iPad? If you're not aware of the hottest current digital device debate, you're probably not a parent or an educator. Once upon a time, that debate might have been about VHS vs. Beta, or Mac vs. PC. However, in prime time ed tech school district circles, folks are fiercely focused on Chromebooks vs. iPads (both now below $400). The big question? Which is the smarter purchase for their students? On the flip side of the classroom debate, Mom and Dad might not like the fact that portable digital tools are becoming more and more invasive. However, how's a parent to ignore these must-have lightweight mobile monsters, which are antiquating the family desktop and nurturing independence? Not to mention all your kids' friends seem to have one. So which digital device is best?" If you're not aware of the hottest current digital device debate, you're probably not a parent or an educator. Once upon a time, that debate might have been about VHS vs. Beta, or Mac vs. PC. However, in prime time ed tech school district circles, folks are fiercely focused on Chromebooks vs. iPads (both now below $400). The big question? Which is the smarter purchase for their students? On the flip side of the classroom debate, Mom and Dad might not like the fact that portable digital tools are becoming more and more invasive. However, how's a parent to ignore these must-have lightweight mobile monsters, which are antiquating the family desktop and nurturing independence? Not to mention all your kids' friends seem to have one. So which digital device is best?"
John Evans

12 must-have apps for supply teachers - Innovate My School - 3 views

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    "On supply, normal rules don't apply. You may be left a set of plans, fully resourced, for the day. Or you may turn up with five minutes (10 minutes after you received the call to go) before the children arrive, to an empty desk, a missing laptop, and no password for the photocopier. You don't know that the children have some work to finish off in any spare five minutes. You need to make sure that the children are fully occupied and engaging with their task to help minimise fuss and poor behaviour. You may be warned assembly is a 9:30 sharp, only to arrive and discover that it has been cancelled for today. In short, you need help! From five minute time fillers, to whole session activities ideas on the hop, apps are an essential tool for supply teachers."
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.
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