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Anthony Giannini

Discipline - 15 views

schooltool.ouboces.org/schooltoolweb

interactive ELA Math online games fun reading

shared by Anthony Giannini on 06 Mar 19 - No Cached
  •      ClassPeriodSectionDaysRoomSemester Computer Information & Technology 1 1A,B167S1, S2 Computer and Information Technology 2 1B314S1, S2 Computer and Information Technology 3 2B314S1, S2 Computer Applications 4 1A,B314S1, S2 to
  • 12345
  • ClassesSearchCampusReportsActionsMissing StudentsMessagesMy Home Welcome, Anthony Giannini, today is Friday, December 6, 2019 #pnlExpand, #pnlCollapse{ padding-top: 5px; padding-bottom: 10px; } Show Cycle Day Information Hide Cycle Day Information Cycle day B in Emanuel Axelrod Education Center - John A. Flannery High School and John A. Flannery Middle School Cycle day B in Regional Education Center At Arden Hill - Marguerite A. Flood Middle School, Marguerite A. Flood High School, Academy at Arden Hill High School and Academy at Arden Hill Middle School Cycle day B in Chester School District Satellite - Chester Academy Satellite MS CurrentTodayAll Take attendance at: 01 02 03 04 05 06 07 08 09 10 11 12 : 00 01 02 03 04 05</opti
Roland Gesthuizen

The Great "Respect" Deception | Edutopia - 46 views

www.edutopia.org/...spect-deception-richard-curwin

teaching learning studentwelfare rules behaviour

shared by Roland Gesthuizen on 06 Oct 13 - No Cached
  • Don Doehla on 06 Oct 13
     
    I define a rule as what you enforce every time it's broken. Platitudes cannot be enforced because there is no line to cross, there's nothing predictable for students to understand, and they're too vague to be useful. In essence, these clumps allow teachers to enforce anything whenever they want under any conditions they chose. It's a get into jail free card. Rules aren't reduced by clumping them -- they are only hidden from students. Often, the only way students can find the real lines is by crossing them. This encourages rule breaking rather than stopping it.
  • ...1 more comment...
  • Don Doehla on 06 Oct 13
     
    I define a rule as what you enforce every time it's broken. Platitudes cannot be enforced because there is no line to cross, there's nothing predictable for students to understand, and they're too vague to be useful. In essence, these clumps allow teachers to enforce anything whenever they want under any conditions they chose. It's a get into jail free card. Rules aren't reduced by clumping them -- they are only hidden from students. Often, the only way students can find the real lines is by crossing them. This encourages rule breaking rather than stopping it.
  • Amy McCorkle on 06 Oct 13
     
    I find, however, that if you inundate students with rules and consequences, especially when they are the same rules every time, students view these as your expectations of their behavior. When they believe you expect the worst from them, they will rise to that expectation. Many rules teachers make are actually procedures, as defined by Henry Wong. If we teach procedures instead, and simply reteach the procedure every time it is not followed, they eventually get tired of being retaught the procedure and just do it. I think what some in education forget is that students, no matter what age, expect and deserve respect, too. If we consistently offer respect and dignity, even when we aren't receiving it in return, the rest of the class notices and responds in return. There need to be some rules that are clearly stated with real enforceable consequences. They need to be only a few and very important. Every professional work place has a few. But we also need to send the clear message that school, as preparing them for the workplace that will not have a100 page rule book, is where we are showing them a model of behavior that is *implicitly* expected in every segment of society.
  • Roland Gesthuizen on 15 Oct 13
     
    "Because so many educators have come to believe the myth of "the fewer rules, the better" (which I was taught in my teacher training program), they have developed what I call deception clumps. They throw as many rules as possible into a respectably titled non-communicative clump: "
Peter Beens

Who Makes the Rules in a Classroom? Seven Ideas About Rule-making - Teacher in a Strang... - 85 views

blogs.edweek.org/...n_ideas_about_rule-making.html

education rules activity classroom Classroom Management

shared by Peter Beens on 20 Aug 12 - No Cached
  • What made collaborative rule-creation more effective in building a smoothly functioning class?
  • It never felt as if we were wrestling with the really important issues: Building a functioning community. Safety. Personal dignity. Kindness. Order. Academic integrity. Democracy.
  • No matter what rules you put on paper, your most important job is role-modeling those practices, not enforcing them
  • ...6 more annotations...
  • On the other hand, do give clear instructions about what kids don't know. What to do when a tornado is spotted
  • Rules shouldn't restate the obvious. "No cheating" is a stupid rule. "Bring a pencil to class" is a silly rule.
  • You're shooting for influence, not control
  • Integrity helps build community. The most important directives in democratic classrooms are around ethical practices: A clear definition of cheating, understood by all students, in the digital age
  • Carrots and sticks are temporary nudges toward desirable behavior at best, but ultimately destructive
  • We want kids to behave appropriately because they understand that there are rewards for everyone in a civil, well-managed school.
  • Peter Beens on 20 Aug 12
     
    Some guidelines for involving students in the creation of the class rules. 
meghankelly492

Project MUSE - Learning from Masters of Music Creativity: Shaping Compositional Experie... - 7 views

muse.jhu.edu/224140

world Music

shared by meghankelly492 on 22 Jul 19 - No Cached
  • n contrast to others who are not as prone to divulge their feelings about their creative process
  • "Variation in style may have historical explanation but [End Page 94] no philosophical justification, for philosophy cannot discriminate between style and style."3
  • The testimonies of the composers concerned bear on questions about (a) the role of the conscious and the unconscious in music creativity, (b)&nbsp;how the compositional process gets started, and (c) how the compositional process moves forward
  • ...39 more annotations...
  • It is hoped that the themes that emerge by setting twentieth and twenty-first century professional composers' accounts of certain compositional experiences or phases of their creative processes against one another will provide a philosophical framework for teaching composition.
  • Furthermore, the knowledge of how professional composers compose offers the potential of finding the missing link in music education; that is, the writing of music by students within the school curriculum
  • Such involvement may deepen their understanding of musical relationships and how one articulates feelings through sounds beyond rudimentary improvisational and creative activities currently available
  • raw philosophical implications for music composition in schools from recognized composers' voices about their individual composing realities
  • It is hoped that the direct access to these composers' thoughts about the subjective experience of composing Western art music in the second half of the twentieth and the beginning of the twenty-first century may also promote the image of a fragmented culture whose ghettoization in music education is a serious impediment to the development of a comprehensive aesthetic education.
  • n other words, there is a striking unanimity among composers that the role of the unconscious is vital in order to start and/or to complete a work to their own satisfaction.
  • I need . . . to become involved, to come into a state where I do something without knowing why I do i
  • This is a complex problem and difficult to explain: all that one can say is that the unconscious plays an incalculable rol
  • Nonetheless, these self-observations about the complementary roles of the unconscious and conscious aspects of musical creativity do not cover the wide range of claims in psychological research on creativity
  • I strongly believe that, if we cannot explain this process, then we must acknowledge it as a mystery.25 Mysteries are not solved by encouraging us not to declare them to be mysteries
  • When Ligeti was commissioned to write a companion piece for Brahms' Horn Trio, he declared, "When the sound of an instrument or a group of instruments or the human voice finds an echo in me, in the musical idea within me, then I can sit down and compose. [O]therwise I canno
  • Extra-musical images may also provide the composer with ideas and material and contribute to musical creativity.
  • ome composers need to have something for it to react against.38 Xenakis, however, asserted that "all truly creative people escape this foolish side of work, the exaltation of sentiments. They are to be discarded like the fat surrounding meat before it is cooked."
  • as, as these examples show, dreams can also solve certain problems of the creative process.
  • In other words, to compose does not mean to merely carry out an initial idea. The composer reserves the right to change his or her mind after the conception of an idea.
  • n sum, self-imposed restrictions or "boundary conditions"55 seem to provide composers with a kind of pretext to choose from an otherwise chaotic multitude of compositional possibilities that, however, gradually disappears and gets absorbed into the process of composition which is characterized by the composers' aesthetic perceptions and choices.
  • Therefore, it is not surprising that influences from the musical world in which the composer lives play an important role in the creative process
  • Thereby the past is seen as being comprised by a static system of rules and techniques that needs to be innovated and emancipated during the composers' search for their own musical identity.
  • I strongly suggest that we play down basics like who influenced whom, and instead study the way the influence is transformed; in other words: how the artist made it his own.
  • Nothing I found was based on the "masterpiece," on the closed cycle, on passive contemplation or narrowly aesthetic pleasure.61
  • Furthermore, for some composers the musical influence can emerge from the development of computer technology.
  • In sum, the compositional process proceeds in a kind of personal and social tension. In many cases, composers are faced with the tensive conflict between staying with tradition and breaking new ground at each step in the process. Thus, one might conclude that the creative process springs from a systematic viewpoint determined by a number of choices in which certain beliefs, ideas, and influences—by no means isolated from the rest of the composer's life—play a dominant role in the search for new possibilities of expression.
  • If a general educational approach is to emerge from the alloy of composers' experiences of their music creativity, it rests on the realization that the creative process involves a diversity of idiosyncratic conscious and unconscious traits.
  • After all, the creative process is an elusive cultural activity with no recipes for making it happen.
  • n this light, the common thread of composers' idiosyncratic concerns and practices that captures the overall aura of their music creativity pertains to (a) the intangibility of the unconscious throughout the compositional process,68 (b) the development of musical individuality,69 and (c) the desire to transgress existing rules and codes, due to their personal and social conflict between tradition and innovation.70
  • In turn, by making student composers in different classroom settings grasp the essence of influential professional composers' creative concerns, even if they do not intend to become professional composers, we can help them immerse in learning experiences that respect the mysteries of their intuitions, liberate their own practices of critical thinking in music, and dare to create innovative music that expresses against-the-prevailing-grain musical beliefs and ideas.
  • Therefore, it is critical that the music teacher be seen as the facilitator of students' compositional processes helping students explore and continuously discover their own creative personalities and, thus, empowering their personal involvement with music. Any creative work needs individual attention and encouragement for each vision and personal experience are different.
  • After all, the quality of mystery is a common theme in nearly every composer's accoun
  • Failing this, musical creativity remains a predictable academic exercise
  • Music teachers need to possess the generosity to refuse to deny student composers the freedom to reflect their own insights back to them and, in turn, influence the teachers' musical reality
  • Indeed, it is important that music teachers try to establish students gradually as original, independent personalities who try to internalize sounds and, thus, unite themselves with their environment in a continuous creative process.
  • Music teachers, therefore, wishing student composers to express and exercise all their ideas, should grant them ample time to work on their compositions,
  • n sum, music knowledge or techniques and the activation of the student composers' desire for discovery and innovation should evolve together through balanced stimulation.
  • While music creativity has been a component of music education research for decades, some of the themes arising from professional composers' experiences of their creativity, such as the significance of the unconscious, the apprehension towards discovering ones' own musical language, or the personal and social tension between tradition and innovation, among others, have not been adequately recognized in the literature of music education
  • By doing this, I strongly believe that musical creativity in general and composing in particular run the risk of becoming a predictable academic exercise
  • which merely demands problem-solving skills on the part of the student composers (or alleged "critical thinkers").
  • . On the other hand, only few music educators appear to draw their composer students' attention to the importance of the personal and social conflict between staying within a tradition or code, even if it is the Western popular music tradition, and breaking new ground at each step in the creative process and, possibly, shaping new traditions or codes.
  • Culture is a precious human undertaking, and the host of musics, arts, languages, religions, myths, and rituals that comprise it need to be carefully transmitted to the young and transformed in the process."85
  • Nevertheless, further research is needed in which women's voices can be heard that may offer an emancipatory perspective for the instruction of composition in education which will "challenge the political domination of men."
Tara Heath

Know Your Rights | Students' Rights | American Civil Liberties Union - 2 views

www.aclu.org/...students-rights

civil civil rights

shared by Tara Heath on 28 Feb 23 - No Cached
  • Do I have First Amendment rights in school? You have the right to speak out, hand out flyers and petitions, and wear expressive clothing in school — as long as you don’t disrupt the functioning of the school or violate school policies that don’t hinge on the message expressed. What counts as “disruptive” will vary by context, but a school disagreeing with your position or thinking your speech is controversial or in “bad taste” is not enough to qualify. Courts have upheld students’ rights to wear things like an anti-war armband, an armband opposing the right to get an abortion, and a shirt supporting the LGBTQ community. Schools can have rules that have nothing to do with the message expressed, like dress codes. So, for example, a school can prohibit you from wearing hats — because that rule is not based on what the hats say — but it can’t prohibit you from wearing only pink pussycat hats or pro-NRA hats. Outside of school, you enjoy essentially the same rights to protest and speak out as anyone else. This means you’re likely to be most protected if you organize, protest, and advocate for your views off campus and outside of school hours. You have the right to speak your mind on social media, and your school cannot punish you for content you post off campus and outside of school hours that does not relate to school.
  • Can my school tell me what I can and cannot wear based on my gender? Public schools can have dress codes, but under federal law dress codes can’t treat students differently based on their gender, force students to conform to sex stereotypes, or censor particular viewpoints. Schools can’t create a dress code based on the stereotype that only girls can wear some types of clothes and only boys can wear other types of clothes. For example, your school can require that skirts must be a certain length, but it cannot require that some students wear skirts and prohibit others from doing so based on the students’ sex or gender expression. That also applies to pants, ties, or any other clothing associated with traditional gender roles. Dress codes also must be enforced equally. For example, rules against “revealing” clothing, such as bans on tank tops or leggings, shouldn’t be enforced only or disproportionately against girls. All students should be allowed to wear clothing consistent with their gender identity and expression, whether they identify as transgender or cisgender. This also applies to homecoming, prom, graduation, and other special school events. Schools shouldn’t require different types of clothing for special events based on students’ sex or gender identity — for example, requiring tuxedos for boys and prom dresses for girls.
  • Can my school discipline me for participating in a walkout? Because the law in most places requires students to go to school, schools can discipline you for missing class. But schools cannot discipline you more harshly because of the message or the political nature of your action. The punishment you could face will vary by your state, school district, and school. If you’re planning to miss a class or two, look up the policy for unexcused absences for your school and school district. If you’re considering missing several days, read about truancy. Also take a look at the policy for suspensions. If you are facing a suspension of 10 days or more, you have a right to a formal process and can be represented by a lawyer. Some states and school districts require a formal process for fewer days. You should be given the same right to make up work just as any other student who missed classes.
Mariusz Leś

The Nerdy Teacher: What Makes Project Based Learning Effective? #Edchat #EngChat - 132 views

www.thenerdyteacher.com/...es-project-based-learning.html

Edchat Twitter learning project

shared by Mariusz Leś on 28 Nov 11 - No Cached
  • Mariusz Leś on 28 Nov 11
     
    1. OWNERSHIP is key. For this project, the students were not listening to me on why Twain was or was not a racist, they were showing me and the rest of class what they thought. They were invested in winning their argument. They knew that their work was going to determine if he was guilty or not. Although I gave the assignment, the students were in charge the rest of the way. It was their project and they wanted to do it win. When students feel they own what they are doing, they will work harder. When the audience is larger, they want to impress everyone. These are not crazy ideas, they are the results of owning the work they are doing. OWNERSHIP is a major factor in the value of PBL. 2. CREATIVITY is the another major part of the PBL and is closely linked with OWNERSHIP. Students were allowed to be creative in their work as a lawyer or witness. Witnesses needed to stay within character, but could add their own elements on the witness stand. Allowing the students to create gives them a bigger sense of OWNERSHIP. 3. Another part of the PBL is the COLLABORATION. Students were working with each other trying to decide the best plan of attack. Witnesses would meet with their lawyers and discuss how the questions they were going to ask and how they should dress. The Jury worked on group projects researching the previous public opinions on Twain and his writing. Students were sharing ideas freely with one another. I had three sections of American Lit at the time, so I had three trails running. Lawyers would help others in the other classes and trash talk the opposing lawyers as well. It was all in good fun, but the collaboration had students working hard with one another to accomplish this goal. 4. Depending on how you set up your project, CRITICAL THINKING, is also an important part of PBL. With my Twain Trail, students needed to think about both sides of the argument. Students needed to prepare their witnesses for potential cross-examination questions. They needed to
Brian Mull

ms-shea - WikiCommunityContract - 34 views

ms-shea.wikispaces.com/WikiCommunityContract

wiki contract aup

shared by Brian Mull on 15 Jan 10 - Cached
  • Brian Mull on 15 Jan 10
     
    Wiki Community Contract As a class, we have discussed and decided upon some rules and etiquette to be followed when using an online sharing site like wikispaces. This contract summarizes those rules and expectations. Each student has signed a hard copy of this contract and agreed to abide by it to help us promote a positive online learning community
meghankelly492

Legislation and Common Law Impacting Assessment Practices in Music Education - Oxford H... - 1 views

www.oxfordhandbooks.com/...oxfordhb-9780190248130-e-39

world Music

shared by meghankelly492 on 02 Mar 20 - No Cached
  • Russell and Austin (2010) have claimed that in music education, a system of benign neglect in assessment practices has been allowed to endure, even though there has (p. 4) been a long-term, consistent call for reform, for more meaningful assessments, and for policymakers to adapt to laws as they are enacted and court rulings as they are handed down.
  • ead to the growing body of scholarship in educational law, the evolving and more active role courts are taking in impacting educational practices,
  • chapter is to inform music teachers about contemporary court cases that have resulted in rulings on assessment issues in educational settings, and how these rulings impact assessment in the music classroom.
  • ...13 more annotations...
  • in teacher preparation programs and in professional development activities so that students and in-service music educators will better be able to negotiate the increasingly litigious educational world
  • egal issues facing music educators remain one of the least important topics of conversation for preservice music educators.
  • how active they have been willing in inserting their decisions in school-based assessment policy.
  • Historically, courts have been somewhat deferential to school leaders and have not been willing to hear too many cases dealing with educational law and assessment.
  • Based on this decision, courts would be more likely to defer to school leaders in making their final rulings.
  • distinguish issues are purely academic from those that are purely disciplinary.
  • s. Three basic factors must exist for constitutional due process to exist: a student must have proper notice, a student must be given the chance to be heard, and the hearing should be conducted in a fair manner
  • The court decided that denying a student of education, regardless of the amount of time, could not be considered an inconsequential thing and claimed that a person’s right to education was equitable to the rights to liberty and property. In the majority decisions, the Supreme Court justices argued:
  • The US Supreme Court’s decision in Goss created the opportunity for students, parents, and their representatives to challenge not only disciplinary suspensions and expulsions but also other decisions by school officials that may affect liberty or property rights, including grades and grading policies.
  • that of courts taking a more active role and deferring less often to school leaders.
  • Because of these high stakes (real or imagined),
  • little more than attendance and participation, others feel that grades must represent academic achievement and that “allowing non-academic factors to affect academic grades distorts the truth about students’
  • however, because music is addressed minimally in these laws, their enactment has had minimal direct impact on music educators’ assessment practices.
Jackie Rippy

Soviet Psychology: Psychology and Marxism Internet Archive - 14 views

www.marxists.org/...ch04.htm

Luria Activity Theory

shared by Jackie Rippy on 11 Aug 11 - Cached
    • Jackie Rippy
      Jackie Rippy on 11 Aug 11
       
      This points to stark differences - what about subtle differences between cultures. Do our symbols affect brain development - do our tools affect brain development?
  • Other Gestalt psychologists emphasized the common properties of mind in all cultures
  • shifts
  • ...12 more annotations...
  • in the basic forms, as well as in the content of people's thinking.
  • The early 1930
  • had experienced the conditions necessary to alter radically the content and form of their thought.
  • we expected that they would display a predominance of those forms of thought that come from activity that is guided by the physical features of familiar objects.
  • Therefore we began, as most field work with people does, by emphasizing contact with the people who would serve as our subjects. We tried to establish friendly relations so that experimental sessions seemed natural and non-threatening. We were particularly careful not to conduct hasty or unprepared presentations of the test materials.
  • As a rule, our experimental sessions began with long conversations which were sometimes repeated with the subjects in the relaxed atmosphere of a tea house, where the villagers spent most of their free time, or in camps in the field and in mountain pastures around the evening campfire. These talks were frequently held in groups. Even when the interviews were held with one person, the experimenter and other subjects made up a group of two or three who listened attentively to the person being interviewed and who sometimes offered remarks or comments on what he said. The talk often took the form of a free-flowing exchange of opinion between participants, and a particular problem might be solved simultaneously by two or three subjects, each proposing an answer. Only gradually did the experimenters introduce the prepared tasks, which resembled the “riddles” familiar to the population and therefore seemed like a natural extension of the conversation.
  • He characterized primitive thinking as “prelogical” and “loosely organized.” Primitive people were said to be indifferent to logical contradiction and dominated by the idea that mystical forces control natural phenomena
  • We conceived the idea of carrying out the first far-reaching study of intellectual functions among adults from a non-technological non-literate, traditional society
  • hamlets
  • nomad
  • 1. Women living in remote villages who were illiterate and who were not involved in any modern social activities. There were still a considerable number of such women at the time our study was made. Their interviews were conducted by women, since they alone had the right to enter the women's quarters. 2. Peasants living in remote villages who were in no way involved with socialized labor and who continued to maintain an individualistic economy. These peasants were not literate. 3. Women who attended short-term courses in the teaching of kindergarteners. As a rule, they had no formal schooling and almost no training in literacy. 4. Active kolhoz (collective farm) workers and young people who had taken short courses. They were involved as chairmen running collective farms, as holders of other offices on the, collective farm, or as brigade leaders. They had considerable experience in planning production, distributing labor, and taking stock of output. By dealing with other collective farm members, they had acquired a much broader outlook than isolated peasants. But they had attended school only briefly, and many were still barely literate. 5. Women students admitted to teachers school after two or three years of study. Their educational qualifications, however, were still fairly low.
  • Short-term psychological experiments would have been highly problematic under the field conditions we expected to encounter
iokera …

How to Develop Positive Classroom Management | Edutopia - 87 views

www.edutopia.org/-relationships-strategies-tips

management classroom edutopia positive

shared by iokera … on 06 Sep 11 - Cached
  • nly by building positive relationships within the school
  • while 80 percent said that classroom-management training, conflict resolution, guidance counseling, and mediation are effective for improving discipline.
  • Agree on Classroom Rules at the Beginning of the Year
  • ...16 more annotations...
  • engaging students actively in the process of determining a set of class rules
  • "What do you want to get out of class today?"
  • "Have each kid give a short answer. It's a way to communicate with them.
  • Be Consistent About Expectations
  • school staff should work together as much as possible to foster consistency in expectations, and discipline methods, throughout the school
  • Reinforce Appropriate Behavior
  • "It's not about 'Gotcha
  • correcting students is the weakest way of teaching rules
  • Maintain Student Dignity
  • "A school in which students and teachers don't feel safe creates a fearful environment
  • Be Neutral, Not Accusatory
  • ask what happened, opening the way for students to tell their story.
  • Look for the Cause
  • Establish a Fairness Committe
  • teachers let them tell their side of the story to the committee and, hopefully, make amends
  • "What happened?" and "Who else has been affected?" to "What do you need to do now to repair the harm?"
cwozniak Wozniak

Educational Leadership:How Teachers Learn:Learning with Blogs and Wikis - 2 views

www.ascd.org/...ning_with_Blogs_and_Wikis.aspx

blogging education professionaldevelopment

shared by cwozniak Wozniak on 05 Apr 09 - Cached
  • What makes professional development even more frustrating to practitioners is that most of the programs we are exposed to are drawn directly from the latest craze sweeping the business world. In the past 10 years, countless schools have read Who Moved My Cheese?, studied The Seven Habits of Highly Effective People, learned to have "Crucial Conversations," and tried to move "from Good to Great."
  • With the investment of a bit of time and effort, I've found a group of writers to follow who expose me to more interesting ideas in one day than I've been exposed to in the past 10 years of costly professional development. Professional growth for me starts with 20 minutes of blog browsing each morning, sifting through the thoughts of practitioners whom I might never have been able to learn from otherwise and considering how their work translates into what I do with students.
  • This learning has been uniquely authentic, driven by personal interests and connected to classroom realities. Blogs have introduced a measure of differentiation and challenge to my professional learning plan that had long been missing. I wrestle over the characteristics of effective professional development with Patrick Higgins (http://chalkdust101.wordpress.com) and the elements of high-quality instruction for middle grades students with Dina Strasser (http://theline.edublogs.org). Scott McLeod (www.dangerouslyirrelevant.org) forces me to think about driving school change from the system level; and Nancy Flanagan (http://teacherleaders.typepad.com/teacher_in_a_strange_land) helps me understand the connections between education policy and classroom practice. John Holland (http://circle-time.blogspot.com) and Larry Ferlazzo, Brian Crosby, and Alice Mercer (http://inpractice.edublogs.org) open my eyes to the challenges of working in high-needs communities.
  • ...6 more annotations...
  • That's when I introduce them to RSS (Really Simple Syndication) feed readers.
  • If you're not sure where to begin, explore the blogs that I've organized in my professional Pageflake at www.pageflakes.com/wferriter/16618841. I read these blogs all the time. Some leave me challenged. Some leave me angry. Some leave me jazzed. All leave me energized and ready to learn more. School leaders may be interested in the collection of blogs at www.pageflakes.com/wferriter/23697456.
  • A power shift is underway and a tough new business rule is emerging: Harness the new collaboration or perish. Those who fail to grasp this will find themselves ever more isolated—cut off from the networks that are sharing, adapting, and updating knowledge to create value. (Kindle location 268–271)
  • The few moments
  • Technology has made it easy for educators to embrace continual professional development.
  • knowledge is readily available for free
  • cwozniak Wozniak on 05 Apr 09
     
    Learning with blogs and wikis.
Randy Yerrick

Golden Rules for Engaging Students in Learning Activities | Edutopia - 38 views

www.edutopia.org/...ng-students-nicolas-pino-james

LAI532F16

shared by Randy Yerrick on 26 Sep 16 - No Cached
  • Randy Yerrick on 26 Sep 16
     
    This article reinforces the ideas we have learned in class on how to engage students in their learning.  Students want to work towards a meaningful goal.
Mr. Loftus

Texting vs. Teaching: Who Wins? - Class Struggle - Jay Mathews on Education - 0 views

voices.washingtonpost.com/...ting_vs_teaching_who_wins.html

texting teaching good teachers

shared by Mr. Loftus on 02 Jun 09 - Cached
  • Steve Ransom on 02 Jun 09
     
    The standard adminstrative response is to try a new rule--like texting only during lunch--that might or might not alleviate the problem, when the answer to almost every educational mishap or distraction is not more rules, but more good teaching.
Peter Beens

Education Week Teacher: Teaching Secrets: Communicating With Parents - 1 views

www.edweek.org/...tillery.html

teachers tips communication parents

shared by Peter Beens on 23 Jun 11 - No Cached
  • Peter Beens on 23 Jun 11
     
    Teaching Secrets: Communicating With Parents By Gail Tillery Premium article access courtesy of TeacherMagazine.org. You will face many challenging tasks as a new teacher. Dealing with parents is probably among the most intimidating, especially if you are young and in your first career. While communicating with parents can be tricky, a little preparation will help you to treat parents as partners and to be calmer when problems arise. Here's the first rule to live by: Your students' parents are not your enemies. Ultimately, they want the same thing you want, which is the best for their children. By maintaining respectful and productive communication, you can work together to help students succeed. Second, whenever problems arise, remember that parents are probably just as nervous about contacting you as you are about returning the contact-and maybe more so. I'll confess: Even after 26 years of teaching, I still get a little frisson of fear in my belly when I see an e-mail or hear a voicemail from a parent. But I have seen time and again that parents are often more nervous than the teacher is-especially if their child doesn't want them to contact the teacher. Indeed, some parents may even fear that if they raise concerns, their child will face some kind of retaliation. Remember that parents' tones or words may reflect such fears. In your response, try to establish that everyone involved wants to help the child. Here are some practical tips for communicating effectively with parents: Contact every parent at the beginning of the year. Do some "recon." Telephone calls are best for this initial contact, since they are more personal than e-mail. Ask the parent to tell you about his or her child's strengths, weaknesses, likes, dislikes, etc. Make sure to ask, "What is the best thing I can do to help your child succeed?" Remember to take notes! Once you've gathered the information you need, set a boundary with parents by saying, "Well, Ms. Smith, I have 25 more parent
Patty Cunningham

New copyright ruling affects educators | Communication and Collaboration | eSchoolNews.com - 112 views

www.eschoolnews.com/...opyright-law-affects-educators

shared by Patty Cunningham on 10 Aug 10 - Cached
  • The Copyright Office deemed K-12 teachers and students ineligible for the exemption, and instead indicated that they should use only screen captures of a film, because K-12 education doesn’t need access to visually high-quality clips, officials ruled.
    • Nancy White
      Nancy White on 10 Aug 10
       
      Why???
    • Seth Bowers
      Seth Bowers on 11 Aug 10
       
      I think the answer is in the following paragraph. $$$
    • Patty Cunningham
      Patty Cunningham on 11 Aug 10
       
      I agree with Seth. Many of our high school students are taking college classes or AP classes, so that doesn't make any sense.
Steve Ransom

Wikipedia:FAQ/Schools - Wikipedia, the free encyclopedia - 0 views

en.wikipedia.org/...Schools

wikipedia about tips howto students teachers

shared by Steve Ransom on 06 Dec 11 - Cached
  • Students should never use information in Wikipedia (or any other online encyclopedia) for formal purposes (such as school essays) until they have verified and evaluated the information based on external sources. For this reason, Wikipedia, like any encyclopedia, is a great starting place for research but not always a great ending place.
  • It is possible for a given Wikipedia article to be biased, outdated, or factually incorrect. This is true of any resource. One should always double-check the accuracy of important facts, regardless of the source. In general, popular Wikipedia articles are more accurate than ones that receive little traffic, because they are read more often and therefore any errors are corrected in a more timely fashion. Wikipedia articles may also suffer from issues such as Western bias, but hopefully this will also improve with time. For more information
  • Although the majority of edits attempt to improve the encyclopedia, vandalism is frequent.
  • ...8 more annotations...
  • If an anonymous or relatively new user changes a statistic or date by even a little bit, without justifying their edit, they are particularly likely to raise a red flag. If an individual continues to vandalize after being warned, then they may even be blocked from further editing.
  • keeps a full history of every change to every article
  • It is for this reason that readers must be particularly diligent in verifying Wikipedia against its external sources, as discussed above. It is also a good idea, if you feel uncomfortable about an article, to check its history for recent "bad-faith" edits. If you find a piece of uncorrected vandalism, you might even decide to help future users by correcting it yourself. That's a great feature of Wikipedia.
  • Wikipedia can be an excellent starting place for further research.
  • Students can compare information in Wikipedia with information in other encyclopedias or books in the library. As a general rule, contributors to Wikipedia are encouraged to cite their sources, but, of course, not all do. For the sake of verifiability, it is advisable to cite an article that has listed its sources. Most of our better articles have sections such as "References," "Sources," "Notes," "Further reading," or "External links," which generally contain such information.
  • The 2008/9 Wikipedia Selection for Schools is a selection of 5,500 articles deemed suitable for school children and has been checked and edited for this audience and protected against editing or vandalism. It contains about the equivalent content to a 20 volume encyclopaedia organized around school curriculum subjects, and is available online and as a free download for use by schools.
  • Educators can use Wikipedia as a way of teaching students to develop hierarchies of credibility that are essential for navigating and conducting research on the Internet.
  • Wikipedia's objective is to become a compendium of published knowledge about notable subjects.
Barbara Pittman

DMCA Rules Regarding Access-Control Technology Exemptions - The Library Today (Library ... - 4 views

www.loc.gov/...10-169.html

shared by Barbara Pittman on 27 Jul 10 - Cached
  • Persons who circumvent access controls in order to engage in noninfringing uses of works in these six classes will not be subject to the statutory prohibition against circumvention.
    • Dallas McPheeters
      Dallas McPheeters on 27 Jul 10
       
      New DMCA copyright rules for 2010 in Education, etc.
  • The purpose of the proceeding is to determine whether current technologies that control access to copyrighted works are diminishing the ability of individuals to use works in lawful, noninfringing ways.
  • purpose
  • ...4 more annotations...
  • when circumvention is accomplished solely in order to accomplish the incorporation of short portions of motion pictures into new works for the purpose of criticism or comment
  • (ii) Documentary filmmaking;(iii) Noncommercial videos
    • Dallas McPheeters
      Dallas McPheeters on 27 Jul 10
       
      Broad definition here.
    • Barbara Pittman
      Barbara Pittman on 14 Sep 10
       
      what is a "short portion"?
  • enable used wireless telephone handsets to connect to a wireless telecommunications network
  • I agree with the Register that the record demonstrates that it is sometimes necessary to circumvent access controls on DVDs in order to make these kinds of fair uses of short portions of motion pictures.
Randolph Hollingsworth

The Code of Best Practices in Fair Use for Media Literacy Education - 60 views

www.centerforsocialmedia.org/...r-use-media-literacy-education

copyright fair use media educational technology

shared by Randolph Hollingsworth on 25 Oct 10 - Cached
  • when they occur within a restricted-access network, do enjoy certain copyright advantages
  • 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
  • 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?
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  • If the answers to these two questions are "yes," a court is likely to find a use fair
  • whether the use will cause excessive economic harm to the copyright owner
  • the purpose of copyright—to promote the advancement of knowledge through balancing the rights of owners and users.
  • In some cases, this will mean using a clip or excerpt; in other cases, the whole work is needed. Whenever possible, educators should provide proper attribution and model citation practices that are appropriate to the form and context of use.
  • educators should provide reasonable protection against third-party access and downloads
  • 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
  • Students’ use of copyrighted material should not be a substitute for creative effort
  • Students should be able to understand and demonstrate, in a manner appropriate to their developmental level, how their use of a copyrighted work repurposes or transforms the original.
  • but 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
  • material that is incorporated under fair use should be properly attributed wherever possible
  • attribution, in itself, does not convert an infringing use into a fair one.
  • 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.
  • When sharing is confined to a delimited network, such uses are more likely to receive special consideration under the fair use doctrine
  • there are no cut-and-dried rules (such as 10 percent of the work being quoted, or 400 words of text, or two bars of music, or 10 seconds of video).
  • Transformativeness, a key value in fair use law, can involve modifying material or putting material in a new context, or both
  • Copyright Act itself makes it clear that educational uses will often be considered fair because they add important pedagogical value to referenced media objects.
  • If educators or learners want to share their work only with a class (or another defined, closed group) they are in a favorable position
  • if work is going to be shared widely, it is good to be able to rely on transformativeness
  • courts have found that asking permission and then being rejected has actually enhanced fair use claims.
  • 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
  • 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.
  • Randolph Hollingsworth on 08 Jun 12
     
    Good place to look for guidelines about use of media
Holly Barlaam

Digital Citzenship--Using Technology Appropriately - 110 views

www.digitalcitizenship.net/Nine_Elements.html

technology technology rules technology norms behavior responsibility class rules

shared by Holly Barlaam on 31 Dec 10 - Cached
  • Holly Barlaam on 23 May 11
     
    Guidelines to responsible behavior regarding technology use. A good resource for teachers when addressing the classroom norms of technology use.
Brianna Crowley

Education Week: Interpretations Differ on Common Core's Nonfiction Rule - 0 views

www.edweek.org/...19nonfiction_ep.h32.html

Common_Core literature standards english_classroom curriculum

shared by Brianna Crowley on 31 Jan 13 - No Cached
  • Ideally, she said, teachers are working in cross-disciplinary teams to decide how to balance those shared responsibilities in a solid curriculum.
  • And Ms. Highfill has not found the guidance on shared, cross-curricular responsibility to be translating into classroom reality. In her district, she said, "there still seems to be more of a focus on English teachers' using nonfiction in classrooms than the other content areas stepping up to the plate."
  • such titles are meant for classes other than English, and seeing them as texts that displace works like The Catcher in the Rye takes titles out of context and ignores the messages of the standards document as a whole.
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  • teachers and local administrators are the ones who must decide how to share responsibility for the increased emphasis on nonfiction. "If a lot of good, close reading of high-quality, challenging texts is going on in science and history classes," she said, "then English/language arts teachers need to carry less of that responsibility."
  • It is English/language arts teachers who will be held accountable for the results, which will drive what happens in their classrooms week to week, he said.
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