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Marianne Hart

The Creativity Crisis - Newsweek - 48 views

www.newsweek.com/...the-creativity-crisis.html

shared by Marianne Hart on 13 Jul 10 - Cached
  • there is one crucial difference between IQ and CQ scores. With intelligence, there is a phenomenon called the Flynn effect—each generation, scores go up about 10 points. Enriched environments are making kids smarter. With creativity, a reverse trend has just been identified and is being reported for the first time here: American creativity scores are falling.
  • “Creativity can be taught,”
  • it’s left to the luck of the draw who becomes creative: there’s no concerted effort to nurture the creativity of all children
    • Brian C. Smith
      Brian C. Smith on 26 Jul 10
       
      Students are labeled as "creative" if they display a knack for art or music, and sometimes in writing, however, they are rarely recognized as creative in math or science where a lot of creativity is not only needed, but excellent for learning within those very two disciplines.
    • Bill Genereux
      Bill Genereux on 23 Aug 10
       
      This is precisely why creativity education is important. It is needed everywhere, not just in the arts. Those teaching outside of arts education need to start recognizing the importance of creative thinking as well.
  • ...23 more annotations...
  • When faculty of a major Chinese university asked Plucker to identify trends in American education, he described our focus on standardized curriculum, rote memorization, and nationalized testing. “After my answer was translated, they just started laughing out loud,” Plucker says. “They said, ‘You’re racing toward our old model. But we’re racing toward your model, as fast as we can.’ ”
  • The argument that we can’t teach creativity because kids already have too much to learn is a false trade-off. Creativity isn’t about freedom from concrete facts. Rather, fact-finding and deep research are vital stages in the creative process.
  • When you try to solve a problem, you begin by concentrating on obvious facts and familiar solutions, to see if the answer lies there. This is a mostly left-brain stage of attack. If the answer doesn’t come, the right and left hemispheres of the brain activate together. Neural networks on the right side scan remote memories that could be vaguely relevant. A wide range of distant information that is normally tuned out becomes available to the left hemisphere, which searches for unseen patterns, alternative meanings, and high-level abstractions. Having glimpsed such a connection, the left brain must quickly lock in on it before it escapes. The attention system must radically reverse gears, going from defocused attention to extremely focused attention. In a flash, the brain pulls together these disparate shreds of thought and binds them into a new single idea that enters consciousness. This is the “aha!” moment of insight, often followed by a spark of pleasure as the brain recognizes the novelty of what it’s come up with. Now the brain must evaluate the idea it just generated. Is it worth pursuing? Creativity requires constant shifting, blender pulses of both divergent thinking and convergent thinking, to combine new information with old and forgotten ideas. Highly creative people are very good at marshaling their brains into bilateral mode, and the more creative they are, the more they dual-activate.
  • those who diligently practice creative activities learn to recruit their brains’ creative networks quicker and better
    • Ed Webb
      Ed Webb on 23 Jul 10
       
      Surely, "more quickly"?
  • Creativity has always been prized in American society, but it’s never really been understood. While our creativity scores decline unchecked, the current national strategy for creativity consists of little more than praying for a Greek muse to drop by our houses. The problems we face now, and in the future, simply demand that we do more than just hope for inspiration to strike. Fortunately, the science can help: we know the steps to lead that elusive muse right to our doors.
    • Brian C. Smith
      Brian C. Smith on 26 Jul 10
       
      Likely because it was out of necessity and the hardships of life. Not that we don't have hardships and necessities, but innovation has solved a lot of problems and automation has made skills and tasks easy.
  • What’s common about successful programs is they alternate maximum divergent thinking with bouts of intense convergent thinking, through several stages. Real improvement doesn’t happen in a weekend workshop. But when applied to the everyday process of work or school, brain function improves.
    • Brian C. Smith
      Brian C. Smith on 26 Jul 10
       
      Everyday process of work or school... over time, consistent and non-prescriptive.
  • kids demonstrated the very definition of creativity: alternating between divergent and convergent thinking, they arrived at original and useful ideas. And they’d unwittingly mastered Ohio’s required fifth-grade curriculum—from understanding sound waves to per-unit cost calculations to the art of persuasive writing. “You never see our kids saying, ‘I’ll never use this so I don’t need to learn it,’ ” says school administrator Maryann Wolowiec. “Instead, kids ask, ‘Do we have to leave school now?’ ” Two weeks ago, when the school received its results on the state’s achievement test, principal Traci Buckner was moved to tears. The raw scores indicate that, in its first year, the school has already become one of the top three schools in Akron, despite having open enrollment by lottery and 42 percent of its students living in poverty.
  • project-based learning
  • highly creative adults frequently grew up with hardship. Hardship by itself doesn’t lead to creativity, but it does force kids to become more flexible—and flexibility helps with creativity.
  • When creative children have a supportive teacher—someone tolerant of unconventional answers, occasional disruptions, or detours of curiosity—they tend to excel. When they don’t, they tend to underperform and drop out of high school or don’t finish college at high rates. They’re quitting because they’re discouraged and bored, not because they’re dark, depressed, anxious, or neurotic. It’s a myth that creative people have these traits. (Those traits actually shut down creativity; they make people less open to experience and less interested in novelty.) Rather, creative people, for the most part, exhibit active moods and positive affect. They’re not particularly happy—contentment is a kind of complacency creative people rarely have. But they’re engaged, motivated, and open to the world.
  • solutions emerge from a healthy marketplace of ideas, sustained by a populace constantly contributing original ideas and receptive to the ideas of others
  • The age-old belief that the arts have a special claim to creativity is unfounded.
  • When scholars gave creativity tasks to both engineering majors and music majors, their scores laid down on an identical spectrum, with the same high averages and standard deviations. Inside their brains, the same thing was happening—ideas were being generated and evaluated on the fly.
  • The lore of pop psychology is that creativity occurs on the right side of the brain. But we now know that if you tried to be creative using only the right side of your brain, it’d be like living with ideas perpetually at the tip of your tongue, just beyond reach
  • those who diligently practice creative activities learn to recruit their brains’ creative networks quicker and better. A lifetime of consistent habits gradually changes the neurological pattern.
  • The home-game version of this means no longer encouraging kids to spring straight ahead to the right answer
  • The new view is that creativity is part of normal brain function.
  • “As a child, I never had an identity as a ‘creative person,’ ” Schwarzrock recalls. “But now that I know, it helps explain a lot of what I felt and went through.”
  • In China there has been widespread education reform to extinguish the drill-and-kill teaching style. Instead, Chinese schools are also adopting a problem-based learning approach.
  • fact-finding
  • problem-finding
  • Next, idea-finding
  • there is one crucial difference between IQ and CQ scores. With intelligence, there is a phenomenon called the Flynn effect—each generation, scores go up about 10 points. Enriched environments are making kids smarter. With creativity, a reverse trend has just been identified and is being reported for the first time here: American creativity scores are falling.
  • Christian Howd on 13 Jul 10
     
    For the first time, research shows that American creativity is declining. What went wrong-and how we can fix it.
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) 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."
Misha Miller

Using Groups Effectively: 10 Principles » Edurati Review - 50 views

eduratireview.com/...oups-effectively-10-principles

collaboration groups pedagogy

shared by Misha Miller on 20 May 13 - No Cached
  • Misha Miller on 20 May 13
     
    "Conversation is key . Sawyer succinctly explains this principle: "Conversation leads to flow, and flow leads to creativity." When having students work in groups, consider what will spark rich conversation. The original researcher on flow, Mihaly Csikszentmihalyi, found that rich conversation precedes and ignites flow more than any other activity.1 Tasks that require (or force) interaction lead to richer collaborative conceptualization. Set a clear but open-ended goal . Groups produce the richest ideas when they have a goal that will focus their interaction but also has fluid enough boundaries to allow for creativity. This is a challenge we often overlook. As teachers, we often have an idea of what a group's final product should look like (or sound like, or…). If we put students into groups to produce a predetermined outcome, we prevent creative thinking from finding an entry point. Try not announcing time limits. As teachers we often use a time limit as a "motivator" that we hope will keep group work focused. In reality, this may be a major detractor from quality group work. Deadlines, according to Sawyer, tend to impede flow and produce lower quality results. Groups produce their best work in low-pressure situations. Without a need to "keep one eye on the clock," the group's focus can be fully given to the task. Do not appoint a group "leader." In research studies, supervisors, or group leaders, tend to subvert flow unless they participate as an equal, listening and allowing the group's thoughts and decisions to guide the interaction. Keep it small. Groups with the minimum number of members that are needed to accomplish a task are more efficient and effective. Consider weaving together individual and group work. For additive tasks-tasks in whicha group is expectedtoproduce a list, adding one idea to another-research suggests that better results develop
Don Doehla

Creative Commons Resources for Classroom Teachers | CTQ - 90 views

www.teachingquality.org/...s-resources-classroom-teachers

creative commons resources tools

shared by Don Doehla on 10 Sep 13 - No Cached
  • Don Doehla on 10 Sep 13
     
    How to tap into Creative COmmons resources
  • Don Doehla on 10 Sep 13
     
    If your students are using images, video, or music in the final products that they are producing for your class, then it is INCREDIBLY important that you introduce them to the Creative Commons -- an organization that is helping to redefine copyright laws.
Deborah Baillesderr

Photos For Class - The quick and safe way to find and cite images for class! - 107 views

www.photosforclass.com

creative commons photos copyright download

shared by Deborah Baillesderr on 25 Nov 14 - No Cached
  • Gerald Carey on 29 Nov 15
     
    Creative commons photos properly attributed.
  • Deborah Baillesderr on 08 Jul 16
     
    "Photos For Class Search now to download properly attributed, Creative Commons photos for school!" Age appropriate images Automatic citation Creative Commons
Liz Eckert

PhotoPin - Free Photos for Bloggers via Creative Commons - 199 views

photopin.com

creativecommons photos resources

shared by Liz Eckert on 11 Jan 12 - No Cached
  • Sydney Schatz on 11 Jan 12
     
    Photo Pin is a new website offering images that can be re-used for blog entries, video productions, slideshows, and print media. Photo Pin uses a combination of Flickr's API for Creative Commons search and Fotolia's image library to serve-up royalty-free images. The search results page on Photo Pin clearly delineates between images that are free to use and images that you have to purchase. Applications for Education If you're looking for a new way to find Creative Commons-licensed images for yourself or your students, Photo Pin could be a good option for you. I like that Photo Pin offers a clear reminder to users that they must correctly link to the sources of the images that they choose to use.
  • Erin Crisp on 08 Nov 12
     
    Search Creative Commons photos adn attribute them for your blog or website easily
  • Liz Eckert on 10 Mar 15
     
    useful for creative commons images - free and subscription based but none free ones usually have sponsored across the corner of the thumbnail
Roland Gesthuizen

Drape's Takes: The Educator's Guide to the Creative Commons - 45 views

drapestakes.blogspot.com/...guide-to-creative-commons.html

creativecommons education video youtube curriculum copyleft presentation

shared by Roland Gesthuizen on 01 Dec 10 - Cached
  • Roland Gesthuizen on 01 Dec 10
     
    "As not every teacher understands how to implement the Creative Commons into their curriculum, I thought I'd take a minute to explain how I would use it if I was in their shoes."
  • Roland Gesthuizen on 01 Dec 10
     
    A good illustration why creative educators like the creative commons.
Scott Kinkoph

Creative Commons - LiveBinder - 106 views

www.livebinders.com/...10903

livebinder creative commons commons education resources tools news

shared by Scott Kinkoph on 17 Oct 12 - No Cached
    • Scott Kinkoph
      Scott Kinkoph on 17 Oct 12
       
      Excellent source for teachers and students to find and use Creative Commons sources for music, pictures and more.
  • Scott Kinkoph on 17 Oct 12
     
    Creative Commons LIveBinder for many different links
Michele Brown

Copyright and Creative Commons | Common Craft - 4 views

www.commoncraft.com/...copyright-and-creative-commons

copyright creativecommons digital citizenship

shared by Michele Brown on 30 Oct 12 - No Cached
  • Michele Brown on 30 Oct 12
     
    Common Craft video that explains Creative Commons in an easy to understand format.
Stephen Bright

How To Attribute Creative Commons Photos | Foter Blog - 62 views

foter.com/...ribute-creative-commons-photos

creative commons attribution cc

shared by Stephen Bright on 10 Feb 13 - No Cached
  • Stephen Bright on 10 Feb 13
     
    Infographic on Creative Commons attribution - excellent graphic explanation of what the different licences mean
onepulledthread

The Educator's Guide to Copyright, Fair Use, and Creative Commons | The Edublogger - 114 views

theedublogger.com/...-fair-use-and-creative-commons

copyright creative commons fair use Edublogger

shared by onepulledthread on 19 Sep 12 - No Cached
  • onepulledthread on 24 Jan 13
     
    good information for everyone.  Creative commons discussion very helpful.
Cüneyt Birkök

International Journal of Human Sciences - 18 views

insanbilimleri.com/en

scientific journal international review

shared by Cüneyt Birkök on 19 Jan 11 - Cached
  • ©2002 Uluslararası İnsan Bilimleri Dergisi / International Journal of Human Sciences (ISSN:1303-5134) is an "Open access journal" that uses a funding model that does not charge readers or their institutions for access. From the BOAI definition of open access, users take the right of read, download, copy, distribute, print, search, or link to the full texts of these articles.
  • Cüneyt Birkök on 19 Jan 11
     
    ©2002 International Journal of Human Sciences (ISSN:1303-5134) is an "Open access journal" that uses a funding model that does not charge readers or their institutions for access. From the BOAI definition of open access, users take the right of read, download, copy, distribute, print, search, or link to the full texts of these articles. Creative Commons License # We look forward to work with scholars from all over the world and in any subject fields. All academicians (hold a Ph.D degree) are welcomed. # Refereeing pre-request is to supervise at least three (Master) or (Doctoral) thesis. # We elaborate scientific branches mentioned in the about page according to any requests from referees. # Referees are responsible to review and approve submitted works in English language and subject fields by filling out this evaluation form. # To join with editorial board, Login/Register to this journal and then submit your full academic vitae with your subject fields you are able to review to journal editor (editor@insanbilimleri.com). Please fill completely out all the information asked (such as your bio statement, languages, institution etc.) at user profile page.
  • Cüneyt Birkök on 19 Jan 11
     
    ©2002 International Journal of Human Sciences (ISSN:1303-5134) is an "Open access journal" that uses a funding model that does not charge readers or their institutions for access. From the BOAI definition of open access, users take the right of read, download, copy, distribute, print, search, or link to the full texts of these articles. Creative Commons License # We look forward to work with scholars from all over the world and in any subject fields. All academicians (hold a Ph.D degree) are welcomed. # Refereeing pre-request is to supervise at least three (Master) or (Doctoral) thesis. # We elaborate scientific branches mentioned in the about page according to any requests from referees. # Referees are responsible to review and approve submitted works in English language and subject fields by filling out this evaluation form. # To join with editorial board, Login/Register to this journal and then submit your full academic vitae with your subject fields you are able to review to journal editor (editor@insanbilimleri.com). Please fill completely out all the information asked (such as your bio statement, languages, institution etc.) at user profile page.
  • Cüneyt Birkök on 19 Jan 11
     
    ©2002 International Journal of Human Sciences (ISSN:1303-5134) is an "Open access journal" that uses a funding model that does not charge readers or their institutions for access. From the BOAI definition of open access, users take the right of read, download, copy, distribute, print, search, or link to the full texts of these articles. Creative Commons License # We look forward to work with scholars from all over the world and in any subject fields. All academicians (hold a Ph.D degree) are welcomed. # Refereeing pre-request is to supervise at least three (Master) or (Doctoral) thesis. # We elaborate scientific branches mentioned in the about page according to any requests from referees. # Referees are responsible to review and approve submitted works in English language and subject fields by filling out this evaluation form. # To join with editorial board, Login/Register to this journal and then submit your full academic vitae with your subject fields you are able to review to journal editor (editor@insanbilimleri.com). Please fill completely out all the information asked (such as your bio statement, languages, institution etc.) at user profile page.
Mark Gleeson

Easy guide to Creative Commons Attribution and additional resources - 85 views

mgleeson.edublogs.org/...o-creative-commons-attribution

creative commons attribution

shared by Mark Gleeson on 05 Oct 13 - No Cached
  • Mark Gleeson on 05 Oct 13
     
    Great infographic explaining creative commons.
shelleymorris

Critical Literacy and Creativity - 1 views

criticalliteracyandcreativity.wikispaces.com

literacy creativity Education teaching

shared by shelleymorris on 20 Jun 11 - No Cached
  • shelleymorris on 20 Jun 11
     
    This wiki is part of a group project between four educators with a common interest in Critical Literacy and Creativity. The authors assert that creativity is a part of human beings that affects how we live and understand and that it is an integral part of education and learning, not an added extra.
Michele Brown

P2PU | Get CC Savvy - 39 views

p2pu.org/...d-creative-commons-are-friends

copyright creative commons

shared by Michele Brown on 23 May 13 - No Cached
  • Michele Brown on 23 May 13
     
    Copyright and Creative Commons are friends.  Understand the connection between CC and copyright law.  Work through the tasks and challenges with short videos and activities.
Roland Gesthuizen

Creative Commons Licensing of Open Educational Content - 4 views

wiobyrne.com/ng-of-open-educational-content

CreativeCommons licensing blog copyright

shared by Roland Gesthuizen on 23 Jul 13 - No Cached
  • Roland Gesthuizen on 23 Jul 13
     
    "Creative Commons (CC) licensing allows creators and users of online, digital content to share while protecting/acknowledging the rights of others. This blog post defines CC licensing, the need for it, and how to make it happen."
Elizabeth Resnick

Presentation Ideas, Tips, and Case Studies | The Haiku Deck Blog - 51 views

blog.haikudeck.com/mons-images-at-your-fingertips

haiku deck presentations creative commons

shared by Elizabeth Resnick on 15 Oct 13 - No Cached
  • Elizabeth Resnick on 15 Oct 13
     
    Favorite presentation app: Haiku Deck.  This page gives info. about creative commons images and attribution.
Peter Beens

Creative Commons in the Classroom - 117 views

www.scribd.com/...ative-Commons-in-the-Classroom

creativecommons copyright education

shared by Peter Beens on 13 Sep 10 - Cached
  • Peter Beens on 13 Sep 10
     
    Excellent overview of creative commons licensing and how it can be used in the classroom.
Mark Swartz

Presentation: "Creative Commons: What every Educator needs to know" - eLearning Blog Do... - 115 views

www.dontwasteyourtime.co.uk/...t-every-educator-needs-to-know

creativecommons copyright education

shared by Mark Swartz on 03 Dec 10 - No Cached
  • Mark Swartz on 03 Dec 10
     
    From my observations of some student presentations I invigilated recently I know there are clearly issues with students knowing and understanding what is legal and what is not when you use and re-use content or images you find on the Internet. Many of us already know about Creative Commons content and how it works, but I found this presentation, with audio slidecast, that I have also made available to staff and students alike, in the vain hope it'll make a difference. It is well worth listening to the 20 minute slidecast that accompanies this presentation, it brings the static pages to life.
Steve Ransom

Creative Commons : Spectrum of Rights - 60 views

www.slideshare.net/...ive-commons-spectrum-of-rights

creativecommons preso slideshare gr8

shared by Steve Ransom on 09 Apr 10 - Cached
  • Steve Ransom on 09 Apr 10
     
    This is a very clear and well done presentation on Creative Commons.
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