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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

iPhone or Android? - ProfHacker - The Chronicle of Higher Education - 4 views

chronicle.com/...25258

iphone android education

shared by Phil Taylor on 06 Feb 11 - No Cached
  • two big players right now are the iPhone and a slew of Android phones
Phil Taylor

6 Top Tech Trends on the Horizon for Higher Education - Wired Campus - The Chronicle of Higher Education - 1 views

chronicle.com/...29581

education tech technology trends 6

shared by Phil Taylor on 10 Feb 11 - No Cached
  • notes that mobile devices have been listed before, but it says that resistance by many schools continues to slow the full integration of mobile devices into higher education.
  • Learning analytics
  • Challenges to adoption include incorporating information coming from a variety of sources and in different formats and concerns about privacy and profiling.
  • ...1 more annotation...
  • Augmented reality, the layering of virtual information over actual locations, such as an interactive, mobile-based museum map, is another up-and-coming trend. It is two to three years away from adoption in education.
Phil Taylor

Educational Leadership:Teaching Screenagers:Screenagers: Making the Connections - 8 views

www.ascd.org/...s@-Making-the-Connections.aspx

teaching screenagers educational technology learning leadership

shared by Phil Taylor on 25 Feb 11 - No Cached
  • Screenagers: Making the Connections
  • Effectively teaching the digital generation, or screenagers as we call them in this issue of Educational Leadership, seems to involve two basics: embracing the tools that kids are immersed in and using these tools to engage students in core curriculum topics.
Phil Taylor

For Computer Chip Builders, Only One Way to Go: Up| The Committed Sardine - 0 views

www.fluency21.com/blogpost.cfm

computer chip future

shared by Phil Taylor on 31 May 11 - No Cached
  • race to build a faster computer chip, there is literally nowhere to go but up
  • It opens the way for faster smartphones, lighter laptops and a new generation of supercomputers
  • Gordon Moore made his famous prediction in 1965 that computers should double in power every two years.
  • ...1 more annotation...
  • the transistor three "gates" to control the flow of electric current, instead of just one
John Evans

K-5 iPad Apps for Understanding: Part Two of Bloom's Revised Taxonomy | Edutopia - 3 views

www.edutopia.org/...ony-understanding-diane-darrow

iPad Bloom's taxonomy apps understanding

shared by John Evans on 19 Aug 11 - No Cached
  • John Evans on 19 Aug 11
     
    "Benjamin Blooms' second stage, "understanding" occurs when new learning connects to prior knowledge. At this point, students have the ability to make sense of what they have read, viewed, or heard and can explain this understanding clearly and succinctly to others. This particular learning stage balances precariously between communicating understanding and expressing opinion. Here the student demonstrates the ability to identify the main idea, generalize new material, translate verbal content into a visual form, transform abstract concepts into everyday terms, or make predictions."
Phil Taylor

Encyclopædia Britannica Image Quest - 13 views

quest.eb.com/index.htm

image britannica Images copyright

shared by Phil Taylor on 05 Oct 11 - No Cached
  • The best education images all in one place Access more than two million rights-cleared images
John Evans

Joopz - Free Web Texting - 0 views

www.joopz.com

sms mobile tools textmessage text web cellphone joopz cellphones cellphonesforlearning

shared by John Evans on 08 Apr 09 - Cached
  • oopz is a web-based text messaging service that enables “web texting” – two-way communications from the Web to any mobile phone in the U.S. and Canada... and back!
  • John Evans on 08 Apr 09
     
    Joopz lets you send and receive text messages (SMS) from the Web to any mobile phone for free. A real-time history of all your conversations is included.\n*Group Messaging\n*Text Reminders\n*Scheduled Messages\n
John Evans

National Gallery of Art NGAkids Art Zone - 0 views

www.nga.gov/index.htm

collage painting interactive web2.0 ngakids art EY MY SY

shared by John Evans on 26 Mar 09 - Cached
  • PHOTO OP (Shockwave, 7 MB) is a two-part interactive activity that introduces you to digital photography and digital photo editing. Use the virtual camera to create snapshots and explore lighting, focus, shutter speed, and compositional effects. After you've taken some photos, switch to the Photo Op editor and transform your pictures into something completely different. This Art Zone interactive is suitable for all ages. Young children will find it easy to take simple snapshots and transform or recolor their virtual photos. More advanced users can create complex artistic compositions by layering, applying filters, and experimenting with various special effects, lighting, and blends. If you need help, scroll down for some hints about how to use the program.  If your Internet connection is slow, allow the program to load fully, then come back to play.
  • John Evans on 26 Mar 09
     
    Very neat collection of online art creation tools.
Phil Taylor

FreeRice - 0 views

www.freerice.com

charity game language fun education freerice ela vocabulary

shared by Phil Taylor on 26 Mar 09 - Cached
  • Phil Taylor on 26 Mar 09
     
    FreeRice has two goals: Provide education to everyone for free. Help end world hunger by providing rice to hungry people for free.
John Evans

Teacher Professional Development Sourcebook: Comedy for Teachers - 0 views

www.teachermagazine.org/...02comedy.h02.html

sourcebook professionallearning comedy connecting

shared by John Evans on 28 Mar 09 - Cached
  • An alternative-certification program that recruits math teachers believes educators could learn a thing or two about classroom management from stand-up comics.
  • To help its teachers develop that knack, Math for America is offering its New York City fellows after-school improv comedy classes taught by Rachel Hamilton, an alum of Second City, the Chicago-based troupe that launched the careers of Bill Murray, Dan Aykroyd, and Amy Poehler, among others.
  • "The drive behind all of our PD, whether it's the driest high-level math presentation or improv comedy, is to emphasize how this is going to be applied in the classroom so that your students are successful in the classroom and in the workforce,' Umphrey said.
John Evans

Learning a Second Language with Multimedia Materials - 0 views

www.cited.org/index.aspx

multimedia language acquisition learning

shared by John Evans on 01 Jun 09 - Cached
  • To support these students’ acquisition of a second language, researchers have identified two instructional approaches. First, proponents of the structural approach argue that drill and practice is the best way to learn grammar and vocabulary.
  • Second, the cognitive approach emphasizes how the learner interacts with language. An effort is made to make language acquisition a more active process. Instruction is based on activating prior knowledge and allowing the learner to build the cognitive skills required to understand, process, and interact with a language. Effective opportunities to learn a second language with the cognitive approach can be divided into three stages: a) comprehensible input, b) interaction, and c) comprehensible output (Plass and Jones, 2005).
Dean Mantz

Digital Booktalk - 5 views

digitalbooktalk.com

literature Video reading booktalks booktalk LanguageArts books edtech literacy technology K12 resources tools web2.0 education

shared by Dean Mantz on 05 Oct 09 - Cached
  • video book trailers are short, minute and a half to two-minute videos that introduce the basic storyline.
  • in these productions the story is re-enacted with artistic and creative decisions made
John Evans

How to Go on the Offensive with Facebook : The World :: American Express OPEN Forum - 4 views

www.openforum.com/...ive-with-facebook-guy-kawasaki

shared by John Evans on 30 Oct 09 - Cached
  • It’s time to “face” two facts: First, most organizations are either already looking at candidates’ Facebook profiles, or they are going to start soon. (How many business owners are doing this now?) Second, people who are worth hiring either have a social-networking profile on some service or will soon—indeed, recruiters may already think that a candidate who doesn’t have a profile is hiding something, disconnected, or clueless.
    • John Evans
      John Evans on 30 Oct 09
       
      Do our students and teachers realize this? It's our rsponsibility to inform them.
John Evans

The Innovative Educator: Let's Stop Making Students Power Down at School - 4 views

theinnovativeeducator.blogspot.com/...ng-students-power-down-at.html

educator innovative

shared by John Evans on 23 Nov 09 - Cached
  • John Evans on 23 Nov 09
     
    When school started this Fall, I was impressed with 9-year old Sarah's two-minute recorded response to President Obama's speech, posted to YouTube. She had 187,632 views, 1600 comments, and a 4 star rating. Talk about authentic assessment, authentic audience, and real learning.
John Evans

Teachers: Watch this and Try not to Cry - Then DO SOMETHING! : Stager-to-Go - 8 views

stager.tv/blog

60Minutes teens engagement music learning

shared by John Evans on 04 Apr 11 - No Cached
  • 60 Minutes just aired a two-part story that stands in their grand tradition of breathtaking journalism. The report tells the story of Gospel for Teens, a non-profit arts organization created in Harlem, NYC by the radio broadcaster, publisher and theatre producer, Vy Higginsen. Her original goals were modest; teach kids to sing gospel music so that this important African American art form endures. The lessons Ms. Higginsen, the teenagers and the 60 Minutes audience learn are much more profound and life-altering.
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