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dabennett7

Remix Culture : Center for Social Innovation (CSI) - 12 views

csi.gsb.stanford.edu/remix-culture

shared by dabennett7 on 29 Mar 15 - Cached
  • there’s a war raging over what some now are calling a new art form in the emerging Web 2.0 culture—remix
  • remix is collage, a recombination of existing, reference images or music and video clips from popular digital culture, elements of which are mashed up into something new.
    • dabennett7
      dabennett7 on 29 Mar 15
       
      Does this sound familiar? Common core and even the SBAC assessment are rooted in remix.
  • as long as the remix is significantly altered from the original—should remix be permitted by law
    • dabennett7
      dabennett7 on 29 Mar 15
       
      How will copryright laws evolve for the 21st century? What skills must our students gradate with to prepare them for a world of Remix vs. Copyrights?
  • ...7 more annotations...
  • Should remix be outlawed as a violation of an artist’s or photographer’s copyrigh
  • “Remix is literacy in the 21st century,” Lessig said. The chief of Stanford University’s Center for Internet and Society
    • dabennett7
      dabennett7 on 29 Mar 15
       
      If digital literacy includes remixing, then the skills of citation and attribution are more important than ever.
  • failing to legally protect remixes as original forms of art and expression “will make pirates of our children...We cannot kill this form of expression;
  • Johnson, author of The Invention of Air, a new book about the history of information flows in American and British society, said remix has “deep roots in the Age of Enlightenment and among America’s Founding Fathers.”
    • dabennett7
      dabennett7 on 29 Mar 15
       
      Remix is not new...  but it is easier and more accessible than ever.  A smartphone alone is a remix machine capable of remixing text, audio, video, images and more.  Then with a click you can publish your remix to the world from anywhere!
  • Where do we think innovation and creativity come from
  • Fairey rounded out the talk, citing remix as one of the early 21st century’s most popular forms of free political expression.
  • Remix is all about making references; references are how you establish a point of view in popular culture, and they are crucial to my work as an artist.”
    • dabennett7
      dabennett7 on 29 Mar 15
       
      This is what we as educators are all about... We challenge students to make connections, identify themes, clarify or argue a point of view.  We push them to remix everyday. Are we challenging them to respect the ideas they build their learning upon?
mrshathaway

Evaluating a Website or Publication's Authority - Web Literacy for Student Fact-Checkers - 25 views

webliteracy.pressbooks.com/...te-or-publications-reliability

website_reliability information_literacy

shared by mrshathaway on 15 Aug 18 - No Cached
  • most of us would like to ascribe authority to sites and authors who support our conclusions and deny authority to publications that disagree with our worldview
  • Wikipedia’s guidelines for determining the reliability of publications. These guidelines were developed to help people with diametrically opposed positions argue in rational ways about the reliability of sources using common criteria.
  • defined by process, aim, and expertise.
  • ...11 more annotations...
  • fact-checkers of all political stripes are happy to be able to track a fact down to one of these publications since they have reputations for a high degree of accuracy, and issue corrections when they get facts wrong.
  • a reliable source for facts should have a process in place for encouraging accuracy, verifying facts, and correcting mistakes
  • Process
  • researchers and certain classes of professionals have expertise, and their usefulness is defined by that expertise
  • Expertise
  • while we often think researchers are more knowledgeable than professionals, this is not always the case
  • Reporters, on the other hand, often have no domain expertise
  • Aim
  • Aim is defined by what the publication, author, or media source is attempting to accomplish
  • One way to think about aim is to ask what incentives an article or author has to get things right
  • In general, you want to choose a publication that has strong incentives to get things right, as shown by both authorial intent and business model, reputational incentives, and history
shsherrmann

Current Events and Why We Need to Teach Them! - 12 views

blog.mimio.com/-and-why-we-need-to-teach-them

news

shared by shsherrmann on 16 Jul 18 - No Cached
  • shsherrmann on 16 Jul 18
     
    Today's students need an understanding of the world's economy, politics, social structures, and environment in order to make the best decisions about how to live their own lives after high school and beyond.
meghankelly492

Exploring the Cultures of East Africa - Jenman African Safaris - 0 views

www.jenmansafaris.com/exploring-cultures-east-africa

world Music

shared by meghankelly492 on 03 Jun 19 - No Cached
  • As much as these different East African countries have in common, there are also distinct differences as a result of the over a hundred different cultures, dozens of different languages and diverse opinions relating to national identity.
  • Tanzania has two official languages – English and Swahili
  • Over the last ten years, the art of cartoons and comics has really taken off in Tanzania and begun to develop a more outspokenly political edge
meghankelly492

Music That Represents Culture: Selecting Music with Integrity: EBSCOhost - 4 views

web.a.ebscohost.com/...detail

world Music

shared by meghankelly492 on 24 May 19 - No Cached
  • The term authenticity has been applied to music in various ways. It might be used to describe a piece of music (recorded, notated, performed); the process by which the music is taught and learned ( through recordings, live models, notation); or the manner in which it is performed (venue, dress, behaviors).
  • In other words, authenticity lies within the perceptions of the individual.
  • Anthony Palmer, who teaches music education at Boston University, has said that music with "absolute authenticity" is performed (a) by and for members of the culture; (b) in a typical setting, as determined by the members of the culture; (c) with instruments specified by the creator(s) of the music; and (d) in its original language.[ 8] Inarguably, and as Palmer recognizes, attaining this level of authenticity is impossible in a school music program (unless we consider "school music" residing within a unique culture of its own). In school, music is separated from its primary source many times over. Music is passed from its primary source (composer, grandmother) to an intermediary (arranger, performer, notation, recording) and channeled through a publisher or presenter to the teacher and finally to students. To confound matters, there are variants of melodies, lyrics, dances, games, and performance styles.
  • ...7 more annotations...
  • Ethnomusicologist Bruno Nettl explains that "societies differ, however, in their attitude toward musical stability; to some it is important that a song remain stable and unchanged, while in others individual singers are encouraged to have their personal versions."
  • but he believes educators must determine at what point that musical experience is no longer acceptable as representative of that culture.
  • Having clear visions of educational goals and the broad curriculum is vital to making these determinations.
  • Bennett Reimer states, "Those inner workings are themselves the project of cultural systems, so they must be revealed in their contexts, historical, cultural, and political, in order to be grasped appropriately; that is, 'knowing about' becomes an essential ingredient of artistry and of listening."[ 15] For example, children might not fully understand the meaning of "Take Me Out to the Ball Game" unless they understand what baseball is or realize that the song is traditionally sung at baseball games.
  • text in an unfamiliar language should include a translation so students understand the meaning of the words.
  • However, a culturally valid work is not necessarily bias free; and conversely, bias-free music is not necessarily culturally valid.
  • Selecting the best music to represent a culture in an unbiased manner is a process of discovery. You will first need to educate yourself before you can educate others.
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."
Steve Ransom

Newsroom | Alliance for Childhood - 1 views

www.allianceforchildhood.org/newsroom

childhood kindergarten learning

shared by Steve Ransom on 28 May 09 - Cached
  • In many kindergarten classrooms there is no playtime at all. Teachers say the curriculum does not incorporate play, there isn’t time for it, and many school administrators do not value it.
    • Steve Ransom
      Steve Ransom on 28 May 09
       
      Then you can't really blame teachers here. Policy/curriculum has to change.
  • “We have had a politically and commercially driven effort to make kindergarten a one-size-smaller first grade. Why in the world are we trying to teach the elementary curriculum at the early childhood level?”
  • Finnish children similarly have a lengthy and playful childhood, not beginning formal schooling until age 7. Yet Finland consistently gets the highest scores on international exams.
  • ...1 more annotation...
  • Crisis in the Kindergarten describes the current state of public kindergartens in the U.S. as “a national disgrace.”
  • Steve Ransom on 28 May 09
     
    New studies show play losing out to formal lessons and tests, even though multiple benefits of imaginative play are well documented
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.
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