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Using Color to Add Clarity in Math - 0 views

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    "How would you feel if someone described you as being colorless? Yeah, it's not exactly a compliment. Being called colorless is basically an unsubtle way of being told you are dull, uninteresting or boring. And just as some people are 'colorless', so is a lot of the content we deliver to our kids. But luckily it is a lot easier to inject a bit of color into a curriculum than it is into a personality. In a recently published slideshare titled 'Colour in Mathematics' Math teacher and blogger, Colleen Young, shows how she uses color to add clarity and engagement to her lessons:"
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Evernote Blog | The New Skitch for Mac and iOS: The Fastest, Friendliest Way to Give Fe... - 0 views

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    "Clear, concise communication is powerful. With a little clarity, we can eliminate those long, roundabout email exchanges that keep projects in perpetual limbo. That's what Skitch is for, and today we're bringing this vision to your PDF workflow to help you give the fastest, friendliest and most direct feedback ever. Not only that, but we've also added an innovative summary that ensures your recipients are able to act upon your feedback immediately. Let's dive into the new PDF features, as well as some exciting new tools."
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Tapping into Declarative and Procedural Knowledge in the Art Room - The Art of Ed - 0 views

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    "One example where I've seen some clarity and connection to my teaching is the concept of declarative vs. procedural knowledge. Taking the time to acknowledge the declarative and procedural knowledge in a lesson or unit can guide students toward achieving a larger learning goal."
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What Students Feel Learning In A State Of Flow - - 3 views

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    "Watch children, youth, and even adults when they are immersed in learning something of interest of them, and you will see often complete engagement and personal joy. When education is done "right", learners often feel and experience the following in their both formal and informal educational environments: Joy Engaged Excited Wonderment Intrinsically Motivated Creative Accomplishment and Pride (in themselves and in their work) Connected (to the content, to other learners, to experts) Purposeful Important Valued All of these feelings described above are often experienced as part of a FLOW state. The characteristics of "Flow" according to its originator and researcher, Czikszentmihalyi, are: Completely involved, focused, concentrating - with this either due to innate curiosity or as the result of training Sense of ecstasy - of being outside everyday reality Great inner clarity - knowing what needs to be done and how well it is going Knowing the activity is doable - that the skills are adequate, and neither anxious or bored Sense of serenity Timeliness - thoroughly focused on present, don't notice time passing Intrinsic motivation - whatever produces "flow" becomes its own reward."
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Free Technology for Teachers: Six Styles of Classroom Video Projects - A Handout - 0 views

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    "he process of creating and publishing videos can be a great way to get students excited about researching, storytelling, and sharing their work with an audience. For teachers who have never facilitated video creation projects in their classrooms, choosing the right style of video and the right tools can be a bit confusing at first. To help bring clarity to the styles and tools, I have a rather simple outline that I use in my video creation workshops. "
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Lisa Nielsen: The Innovative Educator: 5 Components Necessary for A Successful School E... - 2 views

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    "The Managing Complex Change model puts language to that which makes some schools successful while others struggle. The model looks at five components necessary to create a desired environment. These include vision, skills, incentives, resources, action plan. If any one piece is missing the model indicates results schools will experience including change, confusion, anxiety, gradual change, frustration, and a false start. When thinking of successful schools such as Science Leadership Academy, The MET, The Island School, The iSchool, you will find they have all those components in place. On the other hand, when I hear teachers lamenting about their school failures, the model brings clarity to the fact that one or more of these components are missing. Below is the chart that lays this out. Following the chart, I'll take a look at what each missing component might look like in a school environment. As you read, consider which, if any are components, are missing at your school. save image Lack of Vision = Confusion When I hear exasperated teachers spinning their wheels, working so hard to get ready for all the various mandates and requirements, but never feeling a sense of accomplishment, it is clear there is not a tangible school vision that has been communicated. In some cases this is because what is being imposed does or can not reconcile with what the school wanted for their vision. Skill Deficit = Anxiety My heart goes out to those with a skill deficit. They are required to implement a curriculum they are not trained in using or being evaluated via measures with which they are not familiar. Or…they are put into a position they were not trained for or prepared to embrace. Social media provides a great medium for helping these teachers get up to speed, but when the outreach occurs, the anxiety is abundantly clear. Lack of Incentives = Gradual Change It is not unusual for innovative educators to feel like and be perceived as misfits. Islands onto their own
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Definition / Definition - 1 views

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    "To counter common misconceptions and bring clarity to discussions about "Flipped Learning," the governing board and key leaders of the Flipped Learning Network (FLN) announced a formal definition of the term. They also released the Four Pillars of F-L-I-P™ and a checklist of eleven indicators that educators must incorporate into their practice. The group of experienced flipped educators also draws a distinction between Flipped Learning and a Flipped Classroom.  "
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OS X Yosemite: Explained | iMore - 1 views

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    "OS X 10.10 Yosemite was shown off at WWDC 2014 on June 2 and will be released sometime in the fall. In addition to new features like Today view and Extensibility widgets in Notification Center, a better, smarter Spotlight, iCloud Drive, enhanced functionality in Mail, Messages, and Safari, and Continuity with iOS 8, OS X Yosemite brings interface and experience refinements to Apple's desktop operating system, similar in spirit if not exact execution to the iOS 7 makeover of 2013 - interface depth and translucency effects, textual clarity and other elements to improve the overall user experience."
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10 Top Programming Languages For Learning To Code - InformationWeek - 1 views

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    "It seems that everyone wants to learn how to write computer code these days. No matter what field or profession a person works in, the ability to make a computer (or mobile device) dance to your tune seems part of the basic skill set. The question is, how does a person take the first step toward gaining those skills? Once upon a time the path was simple: BASIC was where most people started before moving into Fortran or COBOL (depending on whether they were heading toward scientific or business programming). Now, though, there are far more options and rather less clarity. If you want to know how to get started (or give advice to others), then you have a number of options. Choosing the best means looking at what you ultimately want to do, what you like to do now, and how you best learn new skills."
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Why might we want to learn Digital Technologies? - The Learner's Way - 1 views

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    Understanding the "Why" of any initiative should be a key step prior to implementation. Without a clear understanding of our "Why" how are we to judge the success of what we are implementing. How will we know which steps take us in the right direction if we have no concept of why we are journeying. In our implementation of ICT (Information & Communication Technologies) and now Digital Technologies, a lack of clarity on the matter of "Why" has often been the most significant challenge to success. 
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Christiane Amanpour: How to seek truth in the era of fake news | TED Talk - 1 views

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    "Known worldwide for her courage and clarity, Christiane Amanpour has spent the past three decades interviewing business, cultural and political leaders who have shaped history. In conversation with TED Curator Chris Anderson, Amanpour discusses fake news, objectivity in journalism, the leadership vacuum in global politics and more, sharing her wisdom along the way. "Be careful where you get information from," she says. "Unless we are all engaged as global citizens who appreciate the truth, who understand science, empirical evidence and facts, then we are going to be wandering around -- to a potential catastrophe.""
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This Neuroscientist Wants to Know Your Brain On Art-and How It Improves Learning | EdSu... - 2 views

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    "Research around the way humans learn is booming these days. Consider viral brain-based teaching trends and explorations of how the act of teaching shapes kids' brains. Mariale Hardiman, vice dean of academic affairs at the Johns Hopkins School of Education and and director of Johns Hopkins' Neuro-Education Initiative. But studying how the brain learns doesn't necessarily mean memorizing proteins and brain chemistry. Sometimes it's about empathy-or in the case of some of the latest research coming out of Johns Hopkins, it's about understanding how art plays a role in learning. One person who has closely watched, and even shaped, the coevolution of neurosciences with education is Mariale Hardiman, vice dean of academic affairs at the Johns Hopkins School of Education. The education professor is also the co-founder and director of Johns Hopkins' Neuro-Education Initiative, a center that aims to bring together research on learning and neuroscience, teaching and education. EdSurge sat down with Hardiman recently to learn about the Initiative' recent findings around how injecting art into lessons across disciplines can boost memory and retention. (This conversation has been lightly edited and condensed for clarity.)"
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The challenge of educating for unknown unknowns - The Learner's Way - 0 views

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    It is almost precisely eighteen years since Donald Rumsfeld uttered his now well-regarded commentary on the danger of "unknown unknowns". At the time his remarks brought more confusion than clarity and reinforced for many a belief that politicians use words to conceal the truth. Somehow though, Donald's words from 2002 seem to fit the world of today, and the challenges confronting educators all too well.
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Where Edtech Can Help: 10 Most Powerful Uses of Technology for Learning - InformED : - 2 views

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    "Regardless of whether you think every infant needs an iPad, I think we can all agree that technology has changed education for the better. Today's learners now enjoy easier, more efficient access to information; opportunities for extended and mobile learning; the ability to give and receive immediate feedback; and greater motivation to learn and engage. We now have programs and platforms that can transform learners into globally active citizens, opening up countless avenues for communication and impact. Thousands of educational apps have been designed to enhance interest and participation. Course management systems and learning analytics have streamlined the education process and allowed for quality online delivery. But if we had to pick the top ten, most influential ways technology has transformed education, what would the list look like? The following things have been identified by educational researchers and teachers alike as the most powerful uses of technology for learning. Take a look. 1. Critical Thinking In Meaningful Learning With Technology, David H. Jonassen and his co-authors argue that students do not learn from teachers or from technologies. Rather, students learn from thinking-thinking about what they are doing or what they did, thinking about what they believe, thinking about what others have done and believe, thinking about the thinking processes they use-just thinking and reasoning. Thinking mediates learning. Learning results from thinking. So what kinds of thinking are fostered when learning with technologies? Analogical If you distill cognitive psychology into a single principle, it would be to use analogies to convey and understand new ideas. That is, understanding a new idea is best accomplished by comparing and contrasting it to an idea that is already understood. In an analogy, the properties or attributes of one idea (the analogue) are mapped or transferred to another (the source or target). Single analogies are also known as sy
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The Most Powerful Mental Booster To Make You Smarter - YouTube - 0 views

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    Mental booster for heightened focus, reduced fatigue. Discover what you can do with an increase to your brainpower! http://tinyurl.com/mentalbooster
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The Code of Best Practices in Fair Use for Media Literacy Education -- Publications --... - 7 views

  • 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.
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  • 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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