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John Evans

Kindergarten Diva: Teacher Wellness Series, Part 2: Morning Rituals to Start Your Day O... - 2 views

kinderdiva.blogspot.ca/...ess-series-part-2-morning.html

diva teacher wellness series morning start yoga

shared by John Evans on 03 Oct 16 - No Cached
  • John Evans on 03 Oct 16
     
    "What is a morning ritual? A morning ritual is a series of habits, acts, or practices, usually completed in the same order, day after day. And these rituals are vitally important--the way we begin our morning sets the tone for the rest of our day. A calm, relaxed, and nourishing morning ritual empowers you to deal with the inevitable challenges you'll encounter, reduces stress, increases productivity, and helps you live more intentionally. And getting out of bed is a lot easier when you have something to look forward to! Developing a morning ritual is a very personal thing, and one that evolves over time to be responsive to your needs. This blog post is a window into my current morning ritual that will hopefully inspire you to develop your own."
John Evans

50+ Essential Songs for the History Classroom - ActiveHistory - 5 views

www.activehistory.co.uk/...top_songs.php

music history classroom SS

shared by John Evans on 28 May 17 - No Cached
  • John Evans on 28 May 17
     
    "I am a big fan of music in the history classroom and I have created a number of Spotify Playlists for this purpose. Often this is merely to help create a calm and purposeful working atmosphere, when a bit of Chopin or Debussy sets the tone perfectly. Occasionally it's even possible to have calming instrumental music directly related to the topic in question: for example, Elgar's Cello Concerto in E Minor, which was inspired by the composer watching British troop ships heading off to France in 1914. However, some songs are better used to stoke up some energy during lessons, whilst the very best of all are historical sources in themselves, combining musical feeling with powerful lyrical content. What follows is a list of songs I regularly use in class, organised in broadly chronological order in terms of the topics they relate to, with a brief explanation of how you could make use of them with your own students. What follows is a list of 25 principal songs, but with links to others on similar themes or by similar artists, bringing the total up to over 50. If you have any other suggestions, please contact me (@russeltarr / @activehistory on Twitter) and I'd be delighted to add them to the list (as long as it isn't "We didn't start the fire" by Billy Joel. Which I admit is superb, but we all know this one, surely?)."
John Evans

WolframTones: An Experiment in a New Kind of Music - 2 views

tones.wolfram.com

music audio science math wolfram ringtones technology

shared by John Evans on 26 Nov 10 - Cached
  • Phil Taylor on 26 Nov 10
     
    make music for projects
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.
Nigel Coutts

Between the sprint and the marathon - 2 views

thelearnersway.net/...en-the-sprint-and-the-marathon

education teaching learning

shared by Nigel Coutts on 14 Feb 16 - No Cached
  • Nigel Coutts on 14 Feb 16
     
    The start of a new school year brings with it great excitement and just a little sense of panic and chaos. We have new students, new classes, new teachers and new challenges. We spend time getting to know each other and building trust. But what happens next sets the tone for the year and determines our ultimate success.
USA Yelp Accounts

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

usasmmcity.com/...buy-google-map-reviews

education classroom technology learning resources ipad tools google apps web2.0

shared by USA Yelp Accounts on 16 May 24 - No Cached
  • USA Yelp Accounts on 16 May 24
     
    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
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