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John Evans

Meeting Scheduler - Online Meeting Scheduling - 5 views

www.scheduleonce.com/scheduling

meeting scheduler googleapps gmail

shared by John Evans on 28 Mar 10 - Cached
MARK PEREZ liked it
  • John Evans on 28 Mar 10
     
    ScheduleOnce extends Google Apps to support cross-organizational scheduling.
John Evans

Moving at the Speed of Creativity - Student-Created Sequoyah Book Reports, AudioBoo, iPads and QR Codes - 2 views

www.speedofcreativity.org/...ts-audioboo-ipads-and-qr-codes

book reports ipads qr codes codes

shared by John Evans on 11 Oct 12 - No Cached
  • John Evans on 11 Oct 12
     
    "Fourth and fifth grade students at Independence Elementary School in Yukon Public Schools are sharing their learning as well as excitement for library books this year in a unique, highly digital way that is not only fun, but also meets Oklahoma's new Common Core State Standards for literacy. Students are recording short, oral book reviews and posting them online using the free iPad app and webservice AudioBoo. Then students are using QR codes in the library to access and listen to each other's book reports."
Nigel Coutts

Learning to love teach meets - The Learner's Way - 3 views

thelearnersway.net/...learning-to-love-teach-meets

education collaboration learning teaching

shared by Nigel Coutts on 20 Nov 16 - No Cached
  • Nigel Coutts on 20 Nov 16
     
    There is a growing momentum in education driven by a desire to share our practice and learn from our colleagues. Increasingly teachers are finding ways to break free of their classrooms and share their ideas. Collaborations in the interests of unlocking the collective potential of the profession are spreading within and importantly between schools. For many these collaborative endeavours and desires are satisfied by online communities but for many the possibility for a face to face conversation is more alluring.
John Evans

Web Literacy 2.0 - 4 views

mozilla.github.io/...web-lit-whitepaper

web literacy 2.0 Mozilla

shared by John Evans on 21 Feb 17 - No Cached
  • John Evans on 21 Feb 17
     
    "This paper captures the evolution of the Mozilla Web Literacy Map to reach and meet the growing number of diverse audiences using the web. The paper represents the thinking, research findings, and next iteration of the Web Literacy Map that embraces 21st Century Skills (21C Skills) as key to leadership development. As technology becomes more ubiquitous, and more people come online, Mozilla continues to refine its strategies to support and champion the web as an open and public resource. To help people become good citizens of the web, Mozilla focuses on the following goals: 1) develop more educators, advocates, and community leaders who can leverage and advance the web as an open and public resource, and 2) impact policies and practices to ensure the web remains a healthy open and public resource for all. In order to accomplish this, we need to provide people with open access to the skills and know-how needed to use the web to improve their lives, careers, and organizations. Knowing how to read, write, and participate in the digital world has become the 4th basic foundational skill next to the three Rs-reading, writing, and arithmetic-in a rapidly evolving, networked world. Having these skills on the web expands access and opportunity for more people to learn anytime, anywhere, at any pace. Combined with 21C leadership Skills (i.e. critical thinking, collaboration, problem solving, creativity, communication), these digital-age skills help us live and work in today's world. Whether you're a first time smartphone user, an educator, an experienced programmer, or an internet activist, the degree to which you can read, write, and participate on the web while producing, synthesizing, evaluating, and communicating information shapes what you can imagine-and what you can do. follows:"
John Evans

Steve Dembo: iThink iNeed iPads in the Classroom - DEN Blog Network - 4 views

blog.discoveryeducation.com/...ineed-ipads-in-the-classroom-2

ipad classroom ASCD12

shared by John Evans on 30 Mar 12 - No Cached
  • John Evans on 30 Mar 12
     
    "Bright, learning device, technology leverager, iApps savvy. Think I'm describing the new iPad? Rethink-and meet Steve Dembo, Discovery Education's Director of Social Media and Online Community, Mr. iPad Mavin and today's (1 - 2:30 PM Terrace Ballroom B) Featured Distinguished Presenter. Steve began his presentation with a confession: his initial bias against the iPad."
Tom Stimson

Timer Stopwatch - Online Timer - Online Stopwatch - 0 views

www.timeme.com

Tools teachers

shared by Tom Stimson on 16 Jun 09 - Cached
  • Tom Stimson on 16 Jun 09
     
    TimeMe.com's timer stopwatch products let computer users use their computer as a timing device to time a meeting, class, test, presentation or event.
John Evans

Maker Camp becomes the after-school program you wish you had as a kid - 0 views

www.engadget.com/...maker-camp-after-school

maker camp program makered

shared by John Evans on 05 Nov 15 - No Cached
  • John Evans on 05 Nov 15
     
    ""One thing we can bet on is that 'making' engages kids," Dale Dougherty, Maker Media founder told Engadget. Anyone that's ever been to a Maker Faire knows that's a solid wager. Children routinely crowd around booths and attractions at the event peppering proprietors with questions about how their devices work. They drag their parents to the marketplace to buy Arduinos, soldering guns, and DIY kits. Getting littles ones excited about science and crafts is easy when it's right in their faces, but then what? That was the question on Dougherty's mind, "what happens on the Monday following a Faire?" The initial answer to keeping kids interested in STEM (Science, Technology, Engineering and Math education) topics was an online summer camp. A virtual meeting place for kids looking to expand their DIY skills and connect with other like-minded makers. Of course, once summer is over, those same kids are left in the lurch. Some schools have implemented a by-the-book rote memorization curriculum with very little hands-on opportunities. So now Maker Camp is leaving its summer roots and going year round with weekly projects."
Dennis OConnor

Googlios - 0 views

sites.google.com/...home

portfolios eportfolios resources google googlios

shared by Dennis OConnor on 15 Sep 11 - No Cached
  • Welcome to "Googlios" where free Google tools meet ePortfolios.   This site is intended to be a collection of resources for those interested in using ePortfolios in Education.  Watch the 2 minute Intro video here
  • Dennis OConnor on 15 Sep 11
     
    Many of the participants in the UW-Stout E-Learning and Online Teaching Graduate Certificate Program use Google Sites to create their e-portfolios.  The portfolios are created and used throughout the program. During the practicum, when students become teachers by teaching in one of our graduate classes, they also refine and polish their portfolios. Ultimately the online portfolio becomes a job search tool that helps our graduates show a potential employer what they know. 
John Evans

http://makercamp.com/ - 2 views

makercamp.com

makered makeEDU maker camp google MakerCamp after-school

shared by John Evans on 30 Jun 14 - No Cached
  • John Evans on 30 Jun 14
     
    "Join young inventors and artists from around the world on Google+ to make awesome projects, go on epic virtual "field trips," and meet the world's coolest makers. Maker Camp inspires kids ages 13-18* to embrace their inner maker, get their hands dirty, fix some things, break some things, and have a lot of fun doing it. Week 1: Makers in Motion Week 2: Art and Design Week 3: Fun and Games Week 4: Science and Technology Week 5: DIY Music Week 6: Make: Believe"
John Evans

The Way of the Wiki: Building Online Creativity and Cooperation | Edutopia - 0 views

www.edutopia.org/hats-next-2008-wiki-technology

collaboration edu_trends edutopia ideas leadership management wiki

shared by John Evans on 21 Aug 08 - Cached
  • John Evans on 21 Aug 08
     
    A simple, cheap technology with a funny name will become an even more powerful portal into creative teaching and learning this year. Educators, if you haven't already, meet the wiki.
Clint Hamada

The Code of Best Practices in Fair Use for Media Literacy Education -- Publications -- Center for Social Media at American University - 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
  • 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.
  • 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.
  • 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?
  • 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.
  • Students’ use of copyrighted material should not be a substitute for creative effort
  • 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.
  • Whenever possible, educators should provide proper attribution and model citation practices that are appropriate to the form and context of use.
  • 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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