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John Evans

Wufoo - HTML Form Builder - Free Contact Forms & Online Surveys - 0 views

wufoo.com

ajax design forms tools web2.0 webdesign

shared by John Evans on 19 Oct 08 - Cached
  • John Evans on 19 Oct 08
     
    Wufoo strives to be the easiest way to collect information over the Internet. Our HTML form builder helps you create contact forms, online surveys, and invitations so you can collect the data, registrations and online payments you need without writing a single line of code.
John Evans

YouAreHere - where kids learn to be smarter consumers! - 6 views

www.ftc.gov/YouAreHere

economics consumers youarehere advertising interactive math Education Tools

shared by John Evans on 18 Dec 09 - Cached
  • John Evans on 18 Dec 09
     
    You are welcome to use the resources and activities on this site to teach kids about today's marketplace. The site is intended for students in 5th through 8th grade and can be used to complement lessons in critical thinking, writing, language arts, media literacy, business, civics, and social studies.
Tom Stimson

SplashURL - 0 views

splashurl.net

presentations tools

shared by Tom Stimson on 17 Jun 09 - Cached
  • Tom Stimson on 17 Jun 09
     
    Splash the URL of the page you're currently viewing in a browser as a large font minified URL or QR code, so that audience members can easily write down/visit the URL
John Evans

Story Starters | Scholastic.com - 0 views

teacher.scholastic.com/...storystarter1.htm

writing ELA elementary storystarter scholastic.com tools teaching learning 1-4

shared by John Evans on 07 Aug 09 - Cached
  • Katy L on 08 Aug 09
     
    Fantastic ways to get students to practice writing.
John Evans

Free Technology for Teachers: November's Most Popular Content - 10 views

www.freetech4teachers.com/...bers-most-popular-content.html

technology free resources tools

shared by John Evans on 01 Dec 09 - No Cached
  • John Evans on 01 Dec 09
     
    Here are the most popular items in the month of November: 1. Why Teachers Use Twitter 2. 9 Resources for Website Evaluation Lessons 3. 6 Ways for Students to Publish Their Writing Online 4. 12 Ways for Students to Publish Slideshows Online 5. Intro to Wikis Video Created By Kids 6. Ten Trends to Affect Teaching In the Future (and now) 7. Daylight Saving Time Explained
David McGavock

Weblogg-ed » Personal Learning Networks (An Excerpt) - 0 views

weblogg-ed.com/...l-learning-networks-an-excerpt

Richardson collaboration PLN tools resourcesconnected classroom

shared by David McGavock on 03 Jul 14 - No Cached
  • Seventh/eighth grade teacher Clarence Fisher has an interesting way of describing his classroom up in Snow Lake, Manitoba. As he tells it, it has “thin walls,” meaning that despite being eight hours north of the nearest metropolitan airport, his students are getting out into the world on a regular basis, using the Web to connect and collaborate with students in far flung places from around the globe.
  • there is still value in the learning that occurs between teachers and students in classrooms. But the power of that learning is more solid and more relevant at the end of the day if the networks and the connections are larger.”
  • But, what happens when knowledge and teachers aren’t scarce? What happens when it becomes exceedingly easy to people and content around the things you want to learn when you want to learn them?
  • ...5 more annotations...
  • given these opportunities for connection that the Web now brings us, schools will have to start leveraging the power of these networks. And here are the two game-changing conditions that make that statement hard to deny: right now, if we have access, we now have two billion potential teachers and, soon, the sum of human knowledge at our fingertips.
  • The kids have made contacts. They have begun to find voices that are meaningful to them, and voices they are interested in hearing more from. They are becoming connectors and mavens, drawing together strings of a community.
  • What happens when we don’t need schools to manage the delivery of content any more, when we can get it on our own, anytime we need it, from anywhere we’re connected, from anyone who might be connected with us?
  • And it’s not so much even what we carry around in our heads, all of that “just in case” knowledge that schools are so good at making sure students get these days. As Jay Cross, the author of Informal Learning, suggests, in a connected world, it’s more about how much knowledge you can access.
  • If you’re seeing a vision of students sitting in front of computers working through self-paced curricula and interacting with a teacher only on occasion, you’re way, way off. That’s not effective online learning
  • David McGavock on 03 Jul 14
     
    Most schools were built upon the idea that knowledge and teachers are scarce. When you have limited access to information and you want to deliver what you do have to every citizen in an age with little communication technology, you build what schools are today: age-grouped, discipline-separated classrooms run by an expert adult who can manage the successful completion of the curriculum by a hundred or so students at a time. We mete out that knowledge in discrete parts, carefully monitoring students progress through one-size-fits all assessments, deeming them "educated" when they have proven their mastery at, more often than not, getting the right answer and, to a lesser degree, displaying certain skills that show a "literacy" in reading and writing. Most of us know these systems intimately, and for 120 years or so, they've pretty much delivered what we've asked them to.
John Evans

#LaunchpadEDU | Playful Resources for Toontastic and TeleStory | Launchpad Toys - 0 views

launchpadtoys.com/edu

toontastic telestory storytelling tools

shared by John Evans on 09 Feb 15 - No Cached
  • John Evans on 09 Feb 15
     
    "From Creative Writing to Science Reports and Breaking News Updates, teachers around the world are empowering students through digital storytelling with Toontastic and TeleStory."
abrahamscott7

Buy Google Reviews - 100% Permanent Positive 5 Star Reviews - 0 views

realserviceit.com/...buy-google-reviews

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

shared by abrahamscott7 on 22 Jul 23 - No Cached
  • abrahamscott7 on 22 Jul 23
     
    Buying 5 star reviews on Google is safe. You can buy Google reviews from us. We will provide you with a good service and a good quality account from our team. We have been providing this service for many years now and we are sure that we can provide you the best service ever! Benefits of buying Google reviews You'll get more traffic and more customers. You'll get more sales. You'll make more profits. Your business will be trusted, respected, and authoritative in its field because Google reviews are a sign that people like what you do-and they've written about it! If someone trusts you enough to write about your business on their blog or website (or anywhere else), then they're likely going to buy from you too! That's why it's crucial that before investing in any type of marketing campaign (including buying reviews), make sure there's some kind of traction happening already with potential customers who want what they offer but aren't quite ready yet…or even at all yet! Because once someone has tried out something new via word-of-mouth recommendations or social media posts-like how did I get so many followers on Instagram?!?-it becomes easier than ever before for those same people who liked the product before trying again later down the road when their needs change again." Can you purchase google reviews? Yes, you can buy google reviews. You can buy google reviews for your business. You can buy google reviews for your website. You can buy Google Reviews for your products and services, too! And if you want to give the gift of some extra positive buzz on social media? You can even do that-you just need to know where to look (and how much it costs). Does google ever pay reviews? Google does not pay for reviews. Google does not provide any incentive for reviews. Google does not allow paid reviews or incentivized reviews on its platform, which means you can't pay someone to write a positive review of your property and make it appear as
John Evans

8 Steps To Great Digital Storytelling | Edudemic - 8 views

www.edudemic.com/...-to-great-digital-storytelling

digital storytelling digitalstorytelling writing resources digital_storytelling technology

shared by John Evans on 30 Jun 13 - No Cached
  • John Evans on 30 Jun 13
     
    "Stories bring us together, encourage us to understand and empathize, and help us to communicate. Long before paper and books were common and affordable, information passed from generation to generation through this oral tradition of storytelling. Consider Digital Storytelling as the 21st Century version of the age-old art of storytelling with a twist: digital tools now make it possible for anyone to create a story and share it with the world."
Phil Taylor

5 Fantastic Ways to Use Wallwisher in the Classroom - SimpleK12 - 9 views

blog.simplek12.com/...se-wallwisher-in-the-classroom

wallwisher simplek12 education 5 Writing Tools Student Engagement resource

shared by Phil Taylor on 29 Aug 10 - Cached
  • Wallwisher is “an online notice board maker.” Kind of a bleak description so to spice it up a little, Wallwisher is an online collaboration tool to share ideas, resources, and thoughts on a particular topic
John Evans

The K-12 Web 2.0 Debate: Learning To Communicate : March 2009 : THE Journal - 0 views

www.thejournal.com/24070

k-12 web2.0 2009 teaching collaboration communication

shared by John Evans on 10 Mar 09 - No Cached
  • reference has been made in current writing to such skills as collaboration, networking, and critical thinking as direct benefits for students; however, teaching practitioners are becoming more sophisticated in recognizing levels of learning within those skill development areas.
  • What is not so obvious but is becoming apparent is that within the general concept of communication, students can develop these skills differently and for different purposes with increased use of Web 2.0 tools. So, while we explore how Web 2.0 tools can assist in direct connection between individuals in the learning process, we must also explore how those connections build and expand students' ability to communicate effectively in various contexts and for various purposes.
John Evans

Presentation Zen: Lessons from the art of storyboarding - 0 views

www.presentationzen.com/...-the-art-of-storyboarding.html

storyboarding digitalstorytelling presentation elearning digital_storytelling development

shared by John Evans on 06 Feb 09 - Cached
  • Applying the conceptsHow can you visualize your presentation like a comic? No, not literally perhaps — but something like the sequential flow of a comic or rough sketches in storyboard form. You can do this on a whiteboard, but one of the best analog ways is with sticky notes (Post its) on a wall on in a notebook (a technique Bert Decker, Nancy Duarte, and others have talked about before as well).
    • John Evans
      John Evans on 06 Feb 09
       
      Another great use for Post-It Notes!
  • A good storyboard artist is a good storyteller.
  • Storyboards are an effective, inexpensive way to develop the story. You can "board it up" on the wall and see if it works. Because ideas can be changed easily and quickly, storyboarding works. The key is to put down in your storyboards the minimum amount of information that gives a dynamic and quick read of the content (and the emotions) of the sequence.
  • ...4 more annotations...
  • Here is a good short video reviewing the art of the storyboard as it's used in story development and production in the motion picture industry.
  • Walt Disney, they say, was an amazing pitchman/storyboard artist. Walt's great ability was his passion and vision behind the pitch. The storyboard pitch is one of the great performance arts developed in the 20th century at Disney (yet no one ever gets to see it). The use of storyboards is one of the reasons Walt Disney's early films were so remarkable; the practice was soon copied.
  • With storyboarding you tell the story in the simple form (storyboard reels) before entering the more complex form. The storyboard lets the whole team in on what's going on with the production. The storyboard is "an expensive writing tool, but an inexpensive production tool." The storyboard can cut out a lot of unnecessary work. Storyboards allow you to see what is not working (and toss the bits out that don't work).
  • Kevin Costner: "If I can make things work on paper, then I can make them work on the set."
  • John Evans on 06 Feb 09
     
    Very nice discussion about storyboarding.
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.
John Evans

Zooburst - 10 views

alpha.zooburst.com

zooburst books 3D augmented reality augmentedReality digitalstorytelling storytelling pop-up ELA EY MY SY writing

shared by John Evans on 04 May 10 - Cached
  • John Evans on 04 May 10
     
    ZooBurst is a digital storytelling tool that is designed to let anyone easily create their own customized 3D pop-up books
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