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Lesson Plans : FactCheckED - 5 views

factchecked.org/lesson-plans lessonplans factchecked informationliteracy socialstudies SS resources ELA
shared by John Evans on 22 Oct 10 - Cached
  • All of our lesson plans are able to stand on their own, as single, pre-packaged pieces that can be used in classes that focus on reasoning, critical thinking, sourcing, politics, communications, advertising, current events and other topics.
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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.
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The Code of Best Practices in Fair Use for Media Literacy Education -- Publications --... - 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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Kellogg Seeks Photos and Provides Meals-Advertising - NYTimes.com - 2 views

www.nytimes.com/...08adco.html photos breakfast kellogg
shared by John Evans on 08 Mar 11 - No Cached
  • John Evans on 08 Mar 11
     
    "Taking Photos of Breakfast and Giving Meals to Children"
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Professors experiment with Twitter as teaching tool - JSOnline - 0 views

www.jsonline.com/...43747152.html twitter university professor connections networking
shared by John Evans on 28 Apr 09 - Cached
  • Live tweeting
  • "Live tweeting is not easy," Ekechai said, but "they capture the content of the lectures very, very well." Twitter also allows faculty members to post links to what they're reading. Students who "follow" a professor's tweets can get a look at the news stories that help inform their professor's lectures or connect with the experts their teachers are following.
  • Essential to field Ekechai and Menck see it as their responsibility to teach students about Twitter because social media knowledge is becoming essential to their future fields - communications, advertising, public relations and marketing.
  • ...2 more annotations...
  • Twitter is helping these professors build community in their classes in a way that appeals to some members of a Facebook-addicted generation. The phenomenon is certainly not ubiquitous, and some professors have found Twitter doesn't do anything for them in the academic realm.
  • But others, particularly those who teach in communications fields, are finding that Twitter and other social media are key devices for students and faculty to include in their professional toolbox.
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IKEA Channels Apple in a Hilarious Ad for Its New Catalog 'Bookbook' | TIME - 0 views

time.com/...ikea-catalog-2015 ikea advertising channels apple catalog TIME.com satire
shared by John Evans on 05 Sep 14 - No Cached
  • John Evans on 05 Sep 14
     
    "There's a reason the items you see in an IKEA catalog look so ridiculously appealing - it's because the Swedish furniture chain uses 3D rendering technology to create digital models of the products. To play on the fact that browsing an IKEA catalog is a sort of holistic sensory experience, the company has created this clever new ad, which skewers Apple's notoriously over-the-top product commercials. The result is hilarious, and the jokes really just write themselves."
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How to Cut Down on Unwanted Email? - 0 views

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shared by tech vedic on 17 Jul 13 - No Cached
  • tech vedic on 17 Jul 13
     
    Tired of dozens of unwanted emails? Then it's time to do something for cutting off the pass emails that you just don't need.
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Plan a Better iMovie Trailer with These PDFs - Learning in Hand - 0 views

learninginhand.com/...imovie-trailer-with-these-pdfs imovie trailer storyboard pdfs template
shared by David Caleb on 08 Aug 14 - No Cached
  • John Evans on 08 Aug 14
     
    "When you begin a new iMovie project, you have a choice of creating a movie or a trailer. A trailer follows a template to create a Hollywood-style movie advertisement. iMovie for iOS has 14 trailer templates, and each has its own musical score and graphics. To make your own trailer, choose a template, insert your text, and fill each shot with a video or photo."
  • David Caleb on 26 Feb 16
     
    iMovie Trailers PDFs. Great for organizing trailer.
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Buy Facebook Accounts - Fresh, Aged, PVA & Bulk - 0 views

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shared by reviewsserviceit on 16 Aug 23 - No Cached
  • reviewsserviceit on 16 Aug 23
     
    Buy Facebook Accounts Introduction With more than 2.07 billion monthly active users, Facebook is the most popular social networking site on the planet. Users may connect with their friends, family, and companies on Facebook by creating a personal profile. What are Facebook accounts? An individual's Facebook page enables them to connect with friends and family members online. You provide Facebook your name, contact information, and hobbies when you sign up for an account. Buy Facebook Accounts Additional personal information, such pictures and videos, can be added to your profile. In a sense, your Facebook profile serves as an online avatar of you. It enables you to communicate with your loved ones and spread your ideas and experiences to a wider audience. Your Facebook profile is your own private online place. You may use it to share your ideas and experiences with the world as well as remain in touch with your friends and family. Facebook is a fantastic tool for keeping in touch with family and friends as well as for meeting new people and forming friendships. Buy Facebook Accounts
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Buy Naver Accounts - 100% Email & Number verified - 0 views

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shared by shiyambabu on 26 Jul 23 - No Cached
  • shiyambabu on 26 Jul 23
     
    Buy Naver Accounts Introduction Naver is the largest search engine in Korea. It has been operating since 1998 and it serves as the main portal for users across the country. Naver accounts are also known as Naver Accounts and they are used by individuals and businesses alike. You can buy Naver accounts from us because we provide 100% phone verified PVA Naver Accounts with instant delivery or instant payment methods like Paypal, Bank Transfer etc. What is Naver? Naver is a South Korean search engine, an e-commerce platform, an online advertising platform and internet company. The name Naver is derived from the word nave (navi in Japanese) meaning "navigator" or "spiritual guide". It was launched in June 1999 by NHN Japan. Buy Naver Accounts In July 1998, NHN Japan announced its intention to enter into the Internet field with a new company named as Naver Corporation that would be based on content sharing using its own servers.[4] On November 16th of that year it began offering services for international users via a service called Seowon (South-East Asia Online). In March 1999 this service was discontinued due to lack of interest from customers who were already established users of Yahoo! Japan's overseas services.[5][6]
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