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Nigel Coutts

Curiosity, critical thinking and agency as responses to the Australian Bushfire Crisis - The Learner's Way - 1 views

thelearnersway.net/...the-australian-bushfire-crisis

education student agency learning climate change global warming curiosity critical thinking

shared by Nigel Coutts on 12 Jan 20 - No Cached
  • Nigel Coutts on 12 Jan 20
     
    The bushfire crisis that is currently impacting Australia is beyond devastating. The scale of these fires defies the imagination. For so long now we have lived with skies laden with smoke as a constant and inescapable reminder that this is not an ordinary summer. This is weather and drought at its most extreme. Our only salvation will be rain but this is not the season for that and the long term forecasts are not promising. Our young people, in particular, will be affected and will need special care in the weeks and months to come. What might this mean for schools and for student agency?
John Evans

A Principal's Reflections: Shifting from Passive to Active Learning - 3 views

esheninger.blogspot.ca/...assive-to-active-learning.html

active passive learning technology enhancements

shared by John Evans on 17 Apr 18 - No Cached
  • John Evans on 17 Apr 18
     
    ""Nothing could be more absurd than an experiment in which computers are placed in a classroom where nothing else is changed." - Seymour Papert When it comes to improving outcomes in the digital age, efficacy matters more than ever.  Billions of dollars are spent across the world on technology with the hopes that it will lead to better results.  Tom Murray and I shared this thought in Learning Transformed: Educational technology is not a silver bullet. Yet year after year, districts purchase large quantities of devices, deploy them on a large scale, and are left hoping the technology will have an impact. Quite often, they're left wondering why there was no change in student engagement or achievement after large financial investments in devices. Today's devices are powerful tools. At the cost of only a few hundred dollars, it's almost possible to get more technological capacity than was required to put people on the moon. Nevertheless, the devices in tomorrow's schools will be even more robust. With that in mind, it's important to understand that the technology our students are currently using in their classrooms is the worst technology they will ever use moving forward. As the technology continues to evolve, the conversation must remain focused on learning and pedagogy-not on devices. Unfortunately, technology is not a magic wand that will automatically empower learners to think critically, solve complex problems, or close achievement gaps.  These outcomes rely on taking a critical lens to pedagogical techniques to ensure that they evolve so that technology can begin to support and ultimately enhance instruction.  If the former (pedagogy) isn't solid, then all the technology in the world won't make a difference.  As William Horton states, "Unless you get the instructional design right, technology can only increase the speed and certainty of failure.""
John Evans

What is cloud computing? Everything you need to know about the cloud explained | ZDNET - 1 views

www.zdnet.com/...u-need-to-know-about-the-cloud

cloud computing cloud computing explained zdnet

shared by John Evans on 01 Nov 22 - No Cached
  • John Evans on 01 Nov 22
     
    "Cloud computing is the delivery of computing services-including servers, storage, databases, networking, software, analytics, and intelligence-over the Internet ("the cloud") to offer faster innovation, flexible resources, and economies of scale."
John Evans

IT MAY NOT BE EPIC,BUT IT'S STILL AN AWESOMELEGO WALL! - Tackk - 1 views

tackk.com/anawesomelegowall

epic lego wall smaller scale makered makerspace

shared by John Evans on 25 May 16 - No Cached
  • John Evans on 25 May 16
     
    "To be honest, I had longed for the epic Lego wall that has graced so many makerspace blogs and websites.  But I didn't have the wall space for it, and I prefer furniture and resources that can serve dual purposes. Being a proponent of Theodore Roosevelt's motto of "Do what you can with what you have where you are" I became resourceful.  So with my Scholastic Book Fair points, I chose a metal cabinet from the rewards catalog to serve as both makerspace storage and a movable awesome Lego wall. With some heavy-duty magnets affixed to the back with a hot glue gun, our baseplates could be used both horizontally and vertically.  Bound by limitations, I was able to find a away to create something new that would fit the needs of our library and our students."
Sheri Oberman

worried about PISA? - 4 views

www.heppell.net/pisa

assessment PISA critism large-scale testing standardized international

shared by Sheri Oberman on 02 May 12 - No Cached
  • Sheri Oberman on 02 May 12
     
    Media hype over PISA results influence educational decision makers to try and achieve better test scores, so it is worth considering the fatal flaws in the PISA.
John Evans

PHSC 13400: Global Warming University of Chicago - 1 views

www.youtube.com/view_play_list

youtube science globalwarming planet lecture

shared by John Evans on 22 Apr 10 - Cached
  • This 10-week course for non-science majors focuses on a single problem: assessing the risk of human-caused climate change. The story ranges from physics to chemistry, biology, geology, fluid mechanics, and quantum mechanics, to economics and social sciences. The class will consider evidence from the distant past and projections into the distant future, keeping the human time scale of the next several centuries as the bottom line. The lectures follow a textbook, "Global Warming, Understanding the Forecast," written for the course. For information about the textbook, interactive models, and more, visit: http://forecast.uchicago.edu/
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.
Phil Taylor

The End of Theory: The Data Deluge Makes the Scientific Method Obsolete - 2 views

www.wired.com/...pb_theory

Science Data statistics google theory philosophy information technology

shared by Phil Taylor on 27 Sep 11 - Cached
  • Learning to use a "computer" of this scale may be challenging. But the opportunity is great: The new availability of huge amounts of data, along with the statistical tools to crunch these numbers, offers a whole new way of understanding the world
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