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Under copyright law, what matters is not that you copied someone else's work. What matters is what you copied, and how much you copied. Intellectual-property doctrine isn't a straightforward application of the ethical principle "Thou shalt not steal." At its core is the notion that there are certain situations where you can steal. The protections of copyright, for instance, are time-limited; once something passes into the public domain, anyone can copy it without restriction.

initial monopoly on your creation because we want to provide economic incentives for people to invent things like cancer drugs. But everyone gets to steal your breast-cancer cure—after a decent interval—because it is also in society's interest to let as many people as possible copy your invention; only then can others learn from it, and build on it, and come up with better and cheaper alternatives. This balance between the protecting and the limiting of intellectual property

Constitution: "Congress shall have the power to promote the Progress of Science and useful Arts, by securing for limited"—note that specification, limited—"Times to Authors and Inventors the exclusive Right to their respective Writings and Discoveries."

read extensively within instruction

read increasing amounts of text without guidance or support.

rich in content and sufficiently challenging

Although there are numerous professional podcasting software packages currently available ($100 - $1000+), beginning podcasters may want to start with a freeware program. One of the most widely used free podcasting software programs is Audacity (http://audacity.sourceforge.net/), an open source sound recording and editing program with versions available for PC, Mac, and Linux operating systems. For Mac users another free podcasting program is GarageBand, found within the iLife package that comes with all new Mac OS X computers. Although older versions of GarageBand do not have the podcasting function, upgrades to the new, podcasting-ready GarageBand 4.1 are available in the iLife08 package for $90 (educational discounts available; http://www.apple.com/ilife/garageband/). For specific instructions on using GarageBand, an online video tutorial is available from Apple at http://www.apple.com/ilife/garageband/.

Really Simple Syndication (RSS) feed

However, if the objective, for example, is to create a database of reusable lecture materials, then synchronizing the slides with the audio portion of the lecture and adding special effects (e.g., sound, video) may be required and will likely take at least as long as the lecture itself.

« Thoughts on Collaboration and Developing Higher Level Questioning Skills Twittering with a Purpose: A Starter (or Restarter) Guide » Book In An Hour: A Classroom Strategy April 30, 2009 by Ellsbeth This past winter I had the opportunity to attend a workshop with Organization of American Historians distinguished lecturer, Dr. Lendol Calder.   This is the first place where I came across the strategy called Book In An Hour.  Since then I’ve tried to find additional internet resources on this strategy, but they appear to be few and far between.  I know other people would find it useful, so I decided to write up the strategy and post it here on the blog.  If you know of additional resources or ways to adapt this strategy, I would enjoy hearing from you. What: The Book In An Hour strategy is a jigsaw activity for chapter books.  While the strategy can take more than an hour depending on the reading and presentation method you choose. Why: While many teachers view this activity as a time saver, I view it as a way to expose students to more literary and historical materials than I might have been able to do otherwise.  There are many books that I would love my students to read, but I know that being able to do so is not always my reality.  This st

y gives me an avenue to expose them to additional literature and other important historical works without taking much time away from the other aspects of my courses.  It also provides opportunities for differentiation.  This strategy can be adapted to introduce a book that students will be reading in-depth.  Instead of j

ng to divide students up into groups or jigsaw with individual students.  If you are using groups, I recommend making them heterogeneous or creating them in a way that subtly facilitates differentiation.  I also encourage you to give each student in the grou

If the rubric is primarily used for instruction and will be shared with your students, then it should be non-judgemental, free of educational jargon, and reflect the critical vocabulary that you use in your classroom.

While many educators make a compelling argument for sharing rubrics with students, others worry that doing so will encourage formulaic writing

A teacher can create engaging lessons that focus on one task such as a matching activity where students use either their fingers or a pen to match items. Another teacher might integrate multiple items into a lesson plan such as websites, photos, and music that students can interact with, respond to verbally or even write comments on the board itself.

Interactive whiteboards facilitate multisensory learning

Richard Ludlow started the nonprofit Academic Earth two years ago after M.I.T.'s OpenCourseWare helped him pass linear algebra as a Yale undergraduate. His site offers the courses of 10 elite universities — 130 full courses and more than 3,500 video lectures. Viewers can turn the tables on professors and grade courses. Other guidance includes "Editor's Picks" and "Playlists," lectures selected around a theme like "First Day of Freshman Year" and "You Are What You Eat."

Connexions, started at Rice University 10 years ago, debundles education for the D.I.Y. learner. Anyone can write a "module," the term for instructional material that can be a single sentence or 1,000 pages. Connexions hosts more than 16,000 modules that make up almost 1,000 "collections." A collection might be, say, an algebra textbook or statistics course.

Daniel Colman is a curator of sorts. He sifts through the vast amount of free courses, movies and books offered online to find what he considers the very best in content and production value. Then he features them on Open Culture, the Web site he founded in 2006. It's a task in keeping with his mission as associate dean and director of Stanford's continuing education program.

effectively utilize the vast array of information that resides on the internet and who are capable of processing the information collaboratively

superior to traditional classroom teaching alone

The idea of wanting to be true to the music of a culture, to the people of that culture, and to one's students in teaching is at the heart of the discussion of authenticity.

However, teaching music without attention to its cultural context is a problem in several respects: it risks misrepresenting the musical practice being studied, it fails to take advantage of the potential benefits of culturally infused music teaching, and it promotes a conception of music as isolated sonic events rather than meaningful human practices.2 Discussion about this struggle to balance accurate performance practice with accessibility has focused on the concept of authenticity

The definitions of authenticity represented in the music education literature fall into four models: the continuum model; the twofold historical/personal model; the threefold reproduction, reality, and relevance model; and the moving-beyond-authenticity model.