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Jason Schmidt

Identity Day Presentation - Google Docs - 45 views

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    Notes and links from George Couros identity day presentation for Reform Symposium 2010.
Tara Heath

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

  • 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.
tapiatanova

A Social Network Can Be a Learning Network - The Digital Campus - The Chronicle of High... - 98 views

  • Sharing student work on a course blog is an example of what Randall Bass and Heidi Elmendorf, of Georgetown University, call "social pedagogies." They define these as "design approaches for teaching and learning that engage students with what we might call an 'authentic audience' (other than the teacher), where the representation of knowledge for an audience is absolutely central to the construction of knowledge in a course."
    • trisha_poole
       
      Very important - social pedagogies for authentic tasks - a key for integrating SNTs in the classroom.
    • Daniel Spielmann
       
      Agreed, for connectivism see also www.connectivism.ca
  • External audiences certainly motivate students to do their best work. But students can also serve as their own authentic audience when asked to create meaningful work to share with one another.
    • Daniel Spielmann
       
      The last sentence is especially important in institutional contexts where the staff voices their distrust against "open scholarship" (Weller 2011), web 2.0 and/or open education. Where "privacy" is deemed the most important thing in dealing with new technologies, advocates of an external audience have to be prepared for certain questions.
    • tapiatanova
       
      yes! nothing but barriers! However, it is unclear if the worries about pravacy are in regards to students or is it instructors who fear teaching in the open. everyone cites FERPA and protection of student identities, but I have yet to hear any student refusing to work in the open...
  • Students most likely won't find this difficult. After all, you're asking them to surf the Web and tag pages they like. That's something they do via Facebook every day. By having them share course-related content with their peers in the class, however, you'll tap into their desires to be part of your course's learning community. And you might be surprised by the resources they find and share.
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  • back-channel conversations
  • While keynote speakers and session leaders are speaking, audience members are sharing highlights, asking questions, and conversing with colleagues on Twitter
    • trisha_poole
       
      An effective use of Twitter that can be translated to classrooms.
    • Daniel Spielmann
       
      All classrooms?
    • John Dorn
       
      classrooms where students are motivated to learn. Will this work in a HS classroom where kids just view their phones as a means to check up on people? Maybe if they can see "cool" class could be if they were responsible for the freedoms that would be needed to use twitter or other similar sites.
  • Ask your students to create accounts on Twitter or some other back-channel tool and share ideas that occur to them in your course. You might give them specific assignments, as does the University of Connecticut's Margaret Rubega, who asks students in her ornithology class to tweet about birds they see. During a face-to-face class session, you could have students discuss their reading in small groups and share observations on the back channel. Or you could simply ask them to post a single question about the week's reading they would like to discuss.
  • A back channel provides students a way to stay connected to the course and their fellow students. Students are often able to integrate back channels into their daily lives, checking for and sending updates on their smartphones, for instance. That helps the class become more of a community and gives students another way to learn from each other.
  • Deep learning is hard work, and students need to be well motivated in order to pursue it. Extrinsic factors like grades aren't sufficient—they motivate competitive students toward strategic learning and risk-averse students to surface learning.
  • Social pedagogies provide a way to tap into a set of intrinsic motivations that we often overlook: people's desire to be part of a community and to share what they know with that community.
  • Online, social pedagogies can play an important role in creating such a community. These are strong motivators, and we can make use of them in the courses we teach.
  • The papers they wrote for my course weren't just academic exercises; they were authentic expressions of learning, open to the world as part of their "digital footprints."
    • Daniel Spielmann
       
      Yes, but what is the relation between such writing and ("proper"?) academic writing?
  • Collaborative documents need not be text-based works. Sarah C. Stiles, a sociologist at Georgetown, has had her students create collaborative timelines showing the activities of characters in a text, using a presentation tool called Prezi.com. I used that tool to have my cryptography students create a map of the debate over security and privacy. They worked in small groups to brainstorm arguments, and contributed those arguments to a shared debate map synchronously during class.
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    A great blog post on social pedagogies and how they can be incorporated in university/college classes. A good understanding of creating authentic learning experiences through social media.
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    A great blog post on social pedagogies and how they can be incorporated in university/college classes. A good understanding of creating authentic learning experiences through social media.
  •  
    A great blog post on social pedagogies and how they can be incorporated in university/college classes. A good understanding of creating authentic learning experiences through social media.
Jac Londe

17 U.S. Code § 113 - Scope of exclusive rights in pictorial, graphic, and scu... - 10 views

  • U.S. Code › Title 17 › Chapter 1 › § 113 17 U.S. Code § 113 - Scope of exclusive rights in pictorial, graphic, and sculptural works
  • (a) Subject to the provisions of subsections (b) and (c) of this section, the exclusive right to reproduce a copyrighted pictorial, graphic, or sculptural work in copies under section 106 includes the right to reproduce the work in or on any kind of article, whether useful or otherwise.
  • (b) This title does not afford, to the owner of copyright in a work that portrays a useful article as such, any greater or lesser rights with respect to the making, distribution, or display of the useful article so portrayed than those afforded to such works under the law, whether title 17 or the common law or statutes of a State, in effect on December 31, 1977, as held applicable and construed by a court in an action brought under this title.
  • ...8 more annotations...
  • (c) In the case of a work lawfully reproduced in useful articles that have been offered for sale or other distribution to the public, copyright does not include any right to prevent the making, distribution, or display of pictures or photographs of such articles in connection with advertisements or commentaries related to the distribution or display of such articles, or in connection with news reports.
  • (d) (1) In a case in which— (A) a work of visual art has been incorporated in or made part of a building in such a way that removing the work from the building will cause the destruction, distortion, mutilation, or other modification of the work as described in section 106A (a)(3), and
  • (B) the author consented to the installation of the work in the building either before the effective date set forth in section 610(a) of the Visual Artists Rights Act of 1990, or in a written instrument executed on or after such effective date that is signed by the owner of the building and the author and that specifies that installation of the work may subject the work to destruction, distortion, mutilation, or other modification, by reason of its removal,
  • then the rights conferred by paragraphs (2) and (3) of section 106A (a) shall not apply.
  • (2) If the owner of a building wishes to remove a work of visual art which is a part of such building and which can be removed from the building without the destruction, distortion, mutilation, or other modification of the work as described in section 106A (a)(3), the author’s rights under paragraphs (2) and (3) of section 106A (a) shall apply unless—
  • (A) the owner has made a diligent, good faith attempt without success to notify the author of the owner’s intended action affecting the work of visual art, or (B) the owner did provide such notice in writing and the person so notified failed, within 90 days after receiving such notice, either to remove the work or to pay for its removal.
  • For purposes of subparagraph (A), an owner shall be presumed to have made a diligent, good faith attempt to send notice if the owner sent such notice by registered mail to the author at the most recent address of the author that was recorded with the Register of Copyrights pursuant to paragraph (3). If the work is removed at the expense of the author, title to that copy of the work shall be deemed to be in the author.
  • (3) The Register of Copyrights shall establish a system of records whereby any author of a work of visual art that has been incorporated in or made part of a building, may record his or her identity and address with the Copyright Office. The Register shall also establish procedures under which any such author may update the information so recorded, and procedures under which owners of buildings may record with the Copyright Office evidence of their efforts to comply with this subsection.
solisg58

Favorite 2nd grade books - 4 views

  • llows children to imagine the things they would do if they co
  • uld. This is a story everyone can relate to, no matter his or her background
  • climb into a tree and read” summer days.
  • ...4 more annotations...
  • read-aloud
  • Poetry
  • Themes of racial or ethnic identity and pride are incorporated in the plot.
  • Friends
Paul Beaufait

The purpose of aggregating bookmarks for the Diigo in Education group - 143 views

As somewhat of a Johnny-come-lately to this group, since hearing of new Diigo outline functionality AND planned deprecation of Diigo lists, I believed this group would focus on the transition in Di...

aggregations Diigo education groups purposes moderation noise-to-signal signal-to-noise tools

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