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Verbalization of how we personally make decisions is a very powerful teaching tool, but it’s useless to lecture about safe and appropriate use when we ourselves might not follow our own rules.

If you're not making mistakes, then you're not doing anything

9. Create environments that help students avoid temptations

Assess children’s understanding of ethical concepts. Do not give technology-use privileges until a student has demonstrated that he or she knows and can apply school policies. Test appropriate use prior to students gaining online access.

Privacy - I will protect my privacy and respect the privacy of others. Property - I will protect my property and respect the property of others. a(P)propriate Use - I will use technology in constructive ways and in ways which do not break the rules of my family, church, school, or government.

How do we educate this generation of young people to be safe online, to be secure online, to protect their personal information, to understand privacy, and how that all plays out when they’re in an online space.

re schools or teachers circumventing rules if they show YouTube videos or other blocked sites to students?

not circumventing the rules.

If the technology fails us and filters something appropriate and useful, and if teachers in their professional judgment think it’s appropriate, they should be able to show it. Teachers need to impose their professional judgment on materials that are available to their students.

The new research could lead to systems that can carry on a decent conversation.

the world’s leading A.I. labs have built elaborate neural networks that can learn the vagaries of language by analyzing articles and books written by humans.

Bert learned how to guess the missing word in a sentence.

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.

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

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

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.

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."

predominant mode of literacy depends on the technology and mass media it embraces (Sinatra, 1986).

a burst at the start and top-ups through company training—is breaking down. One reason is the need for new, and constantly updated, skills.

The 19th and 20th centuries saw stunning advances in education. That should be the scale of the ambition today

It is easier to learn later in life if you enjoyed the classroom first time around: about 80% of the learners on Coursera already have degrees. Online learning requires some IT literacy, yet one in four adults in the OECD has no or limited experience of computers. Skills atrophy unless they are used, but many low-end jobs give workers little chance to practise them.

WHEN education fails to keep pace with technology, the result is inequality.