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"France plans to outlaw the destruction of unsold consumer products, a practice that currently results in the disposal of new goods worth 800 million euros, or more than $900 million, in the country each year. By 2023, manufacturers and retailers will have to donate, reuse or recycle the goods, Prime Minister Édouard Philippe said on Tuesday of the measure, which the government billed as the first of its kind. "It is waste that defies reason," Mr. Philippe said at a discount store in Paris, according to Agence France-Presse, and he called the practice "scandalous." Under a new measure that will be part of a bill set to be debated by the government in July, destroying unsold goods could result in financial penalties or prison time. The practice - widespread across the retail and consumer industry as a way to free up warehouse space or prevent unwanted items from being sold at a significant discount - has received bad press in France recently. ..."

1) the ways they currently implement Twitter in their teaching and learning, 2) ideas for future development of Twitter-based assignments and pedagogical practices, and 3) issues concerning the integration of Twitter and other digital media into both traditional and non-traditional pedagogies. Collaborators should feel free to add material to these pages, to comment on existing material, and to share links to relevant external readings and resources. It may be helpful to tag your contributions with your Twitter handle. Collaborators are asked to please respect this space as a forum for open and respectful dialogue and networking. Let's fill up the pages below with great ideas!  Share the ways you currently implement Twitter in your teaching and learning: Students in my course New Information Technologies do an "Internet Censorship" project, focused on a specific country. I ask them to follow a journalist who tweets on that country as part of their research to understand the state of Internet freedom in the country they select. -- Lora Since shortly after Twitter was launched, I've experimented with various iterations of "The Twitter Essay," an assignment that has students considering the nature of the "essay" as a medium and how they might do that work within the space of 140 characters. -- Jesse (@Jessifer) In my fully online classes, I've started using Twitter to replace the discussion forum as the central location for student interaction. -- Jesse (@Jessifer) Show Tweets that have gotten people arrested and prompt discussion on whether it is fair that anyone be arrested for any Tweet in the US, who is likely to be arrested for their Tweets, what kinds of Tweets are likely to prompt arrest, etc. Students in my First Year Seminar course "The Irish Imagination: Yeats to Bono" developed a platform for digital annotation of Irish literature. Embedded in their platform was a twitter feed of relevant individuals/groups, makin

"... Reclaiming pedagogy as a form of educated and militant hope begins with the crucial recognition that education is not solely about job training and the production of ethically challenged entrepreneurial subjects and that artistic production does not only have to serve market interests, but are also about matters of civic engagement and literacy, critical thinking, and the capacity for democratic agency, action, and change. It is also inextricably connected to the related issues of power, inclusion, and social responsibility.[2] If young people, artists, and other cultural workers are to develop a deep respect for others, a keen sense of the common good, as well as an informed notion of community engagement, pedagogy must be viewed as a cultural, political, and moral force that provides the knowledge, values, and social relations to make such democratic practices possible. In this instance, pedagogy needs to be rigorous, self-reflective, and committed not to the dead zone of instrumental rationality but to the practice of freedom and liberation for the most vulnerable and oppressed, to a critical sensibility capable of advancing the parameters of knowledge, addressing crucial social issues, and connecting private troubles into public issues. Any viable notion of critical pedagogy must overcome the image of education as purely instrumental, as dead zones of the imagination, and sites of oppressive discipline and imposed conformity. ..."

"Open with a question or two. Another favorite education writer of mine, the cognitive psychologist Daniel Willingham, argues that teachers should focus more on the use of questions. "The material I want students to learn," he writes in his book Why Don't Students Like School?, "is actually the answer to a question. On its own, the answer is almost never interesting. But if you know the question, the answer may be quite interesting." My colleague Greg Weiner, an associate professor of political science, puts those ideas into practice. At the beginning of class, he shows four or five questions on a slide for students to consider. Class then proceeds in the usual fashion. At the end, he returns to the questions so that students can both see some potential answers and understand that they have learned something that day. What did we learn last time? A favorite activity of many instructors is to spend a few minutes at the opening of class reviewing what happened in the previous session. That makes perfect sense, and is supported by the idea that we don't learn from single exposure to material - we need to return frequently to whatever we are attempting to master.But instead of offering a capsule review to students, why not ask them to offer one back to you?Reactivate what they learned in previous courses. Plenty of excellent evidence suggests that whatever knowledge students bring into a course has a major influence on what they take away from it. So a sure-fire technique to improve student learning is to begin class by revisiting, not just what they learned in the previous session, but what they already knew about the subject matter.Write it down. All three of the previous activities would benefit from having students spend a few minutes writing down their responses. That way, every student has the opportunity to answer the question, practice memory retrieval from the previous session, or surface their prior knowledge - and not just the students most likely to

"It seems only fitting to explore the role of questions in education by asking questions about the process of doing so. I propose that we start with the customary way of framing this topic and then proceed to questions that are deeper and potentially more subversive of traditional schooling. 1. WHICH QUESTIONS? To begin, let's consider what we might ask our students. The least interesting questions are those with straightforward factual answers. That's why a number of writers have encouraged the use of questions described variously as "true" (Wolf, 1987), "essential" (Simon, 2002), "generative" (Perkins, 1992; Perrone, 1998), "guiding" (Traver, 1998), or "fertile" (Harpaz & Lefstein, 2000). What the best of these share is that they're open-ended. Sometimes, in fact, no definitive right answer can be found at all. And even when there is one - or at least when there is reason to prefer some responses to others - the answer isn't obvious and can't be summarized in a sentence. Why is it so hard to find a cure for cancer? Do numbers ever end? Why do people lie? Why did we invade Vietnam? Grappling with meaty questions like these (which were among those generated by a class in Plainview, NY) is a real project . . . literally. A question-based approach to teaching tends to shade into learning that is problem- (Delisle, 1997) and project-based (Kilpatrick, 1918; Blumenfeld et al., 1991; Wolk, 1998). Intellectual proficiency is strengthened as students figure out how to do justice to a rich question. As they investigate and come to understand important ideas more fully, new questions arise along with better ways of asking them, and the learning spirals upwards. Guiding students through this process is not a technique that can be stapled onto our existing pedagogy, nor is it something that teachers can be trained to master during an in-service day. What's required is a continual focus on creating a classroom that is about thinking rather

"Call it counterintuitive clickbait if you must, but Forbes' Pascal-Emmanuel Gobry made an intriguing argument when he granted the title of "Language of the Future" to French, of all tongues. "French isn't mostly spoken by French people and hasn't been for a long time now," he admits," but "the language is growing fast, and growing in the fastest-growing areas of the world, particularly sub-Saharan Africa. The latest projection is that French will be spoken by 750 million people by 2050. One study "even suggests that by that time, French could be the most-spoken language in the world, ahead of English and even Mandarin." I don't know about you, but I can never believe in any wave of the future without a traceable past. But the French language has one, of course, and a long and storied one at that. You see it visualized in the information graphic above (also available in suitable-for-framing prints!) created by Minna Sundberg, author of the webcomic Stand Still. Stay Silent. "When linguists talk about the historical relationship between languages, they use a tree metaphor," writes Mental Floss' Arika Okrent. "An ancient source (say, Indo-European) has various branches (e.g., Romance, Germanic), which themselves have branches (West Germanic, North Germanic), which feed into specific languages (Swedish, Danish, Norwegian)." Sundberg takes this tree metaphor to a delightfully lavish extreme, tracing, say, how Indo-European linguistic roots sprouted a variety of modern-day living languages including Hindi, Portuguese, Russian, Italian - and, of course, our Language of the Future. The size of the branches and bunches of leaves represent the number of speakers of each language at different times: the likes of English and Spanish have sprouted into mighty vegetative clusters, while others, like, Swedish, Dutch, and Punjabi, assert a more local dominance over their own, separately grown regional branches. Will French's now-modest leave

"Our new blog is designed to radically reduce the energy use associated with accessing our content. Low-tech Magazine was born in 2007 and has seen minimal changes ever since. Because a website redesign was long overdue - and because we try to practice what we preach - we decided to build a low-tech, self-hosted, and solar-powered version of Low-tech Magazine. The new blog is designed to radically reduce the energy use associated with accessing our content. Why a Low-tech Website? We were told that the Internet would "dematerialise" society and decrease energy use. Contrary to this projection, it has become a large and rapidly growing consumer of energy itself. In order to offset the negative consequences associated with high energy consumption, renewable energy has been proposed as a means to lower emissions from powering data centers. For example, Greenpeace's yearly ClickClean report ranks major Internet companies based on their use of renewable power sources."

"Our smartphones enable-and encourage-constant connection to information, entertainment, and each other. They put the world at our fingertips, and rarely leave our sides. Although these devices have immense potential to improve welfare, their persistent presence may come at a cognitive cost. In this research, we test the "brain drain" hypothesis that the mere presence of one's own smartphone may occupy limited-capacity cognitive resources, thereby leaving fewer resources available for other tasks and undercutting cognitive performance. Results from two experiments indicate that even when people are successful at maintaining sustained attention-as when avoiding the temptation to check their phones-the mere presence of these devices reduces available cognitive capacity. Moreover, these cognitive costs are highest for those highest in smartphone dependence. We conclude by discussing the practical implications of this smartphone-induced brain drain for consumer decision-making and consumer welfare."

"This book YOUNG & CREATIVE - Digital Technologies Empowering Children in Everyday Life aims to catch different examples where children and youth have been active and creative by their own initiative, driven by intrinsic motivation, personal interests and peer relations. We want to show the opportunities of digital technologies for creative processes of children and young people. The access to digital technology and its growing convergence has allowed young people to experiment active roles as cultural producers. Participation becomes a keyword when "consumers take media into their own hands". Digital technologies offer the potential of different forms of participatory media culture, and finally creative practices. YOUNG and CREATIVE is a mix of research articles, interviews and case studies. The target audience of this book is students, professionals and researchers working in the field of education, communication, children and youth studies, new literacy studies and media and information literacy."

"Teaching children according to their individual "learning style" does not achieve better results and should be ditched by schools in favour of evidence-based practice, according to leading scientists. Thirty eminent academics from the worlds of neuroscience, education and psychology have signed a letter to the Guardian voicing their concern about the popularity of the learning style approach among some teachers. ..."

"En un mundo lleno de amenazas referidas a la educación, este libro aparece lleno de esperanzas practicables. Su objetivo central es abrir nuevas puertas al aprendizaje en profundidad. Para ello,ed La innovación educativa no es un juego; requiere un abordaje sistemático y científico que permita generar evidencias de sus usos, posibilidades y efectos. Es por eso que la recopilación tiene como propósito poner en juego una concepción pedagógica y una visión educativa renovadoras. El Laboratorio de Innovación y Justicia Educativa se propone como un catalizador de cambios posibles, con base en la investigación y la articulación de diversas voces para repensar la educación. Este libro es, además, un material que dialoga con una página web en la que se han compartido otros materiales de interés para invitar a la exploración en profundidad de las innovaciones recopiladas."

The aim of the Transmedia Literacy project is to understand how the young boys and girls are learning skills outside the school. The construction of those cultural competencies and social skills will be at the centre of the research. Once the informal learning strategies and practices applied by young people outside the formal institutions are identified, the team will 'translate' them into a series of activities and proposals to be implemented inside school settings. The Transmedia Literacy Project will also produce a Teacher's Kit that will be designed to facilitate the integration of transliteracies in the classroom.

Clases centradas en la repetición de información Exámenes tradicionales Las materias divididas por bloques fijos de horarios Cuadernos y carpetas llenos de fotocopias pegadas El uso de la "lapicera de pluma" La exigencia de que se escriba "a mano" Leer todos el mismo libro, con los mismos tiempos y para exponer de qué se trata a los fines de ser evaluado La obsesión por tener a todos los alumnos callados y quietos El uso de un único tipo de letra, en nuestro caso, la ponderación de la cursiva La sanción por la mala ortografía Copiar del pizarrón La competencia y el exitismo, promovido por el sistema de calificaciones Sancionar cuestiones actitudinales o de "disciplina" bajando la nota en las materias Las humillaciones públicas a los alumnos El control de asistencia como forma de retener a los alumnos La ejercitación reiterada y "por cantidad"

Instale un programa antivirus en todas las estaciones y servidores y asegúrese de que se mantienen actualizados. Dado que los virus nuevos pueden propagarse sumamente rápido, es importante disponer de una infraestructura de actualización que pueda actualizar todos los equipos de su empresa con frecuencia y a corto plazo.

"1. Duración. A la hora de poner un vídeo a mis alumnos, intento aplicar el famoso principio menos es más. Me explico. En mi caso me gusta poner vídeos de corta duración, es decir, vídeos que no excedan de los 5 minutos. Cuando un vídeo supera este tiempo, el nivel de atención del alumno cae considerablemente y el valor añadido que siempre implica un vídeo puede llegar a perder parte del valor que le querías dar. Un vídeo no está para rellenar una sesión lectiva sin más. Este es un error común entre muchos docentes, es decir, no por durar más será más efectivo. 2. Conexión. Son cada vez más las aulas que vienen dotadas con conexión a internet. Se trata, sin duda, de una gran ventaja ya que te permite en cualquier momento hacer las consultas que creas oportunas. Muchas de estas consultas se basan en vídeos que hemos encontrado, por ejemplo, en youtube. Si tienes planeado ver un vídeo que hayas encontrado por la red, mi recomendación es que, previamente, te lo descargues y lo copies en una unidad externa como puede ser un USB. De esta manera evitarás depender de una conexión a internet para poder visualizar el vídeo que hayas elegido. Si quieres saber cómo descargar un vídeo de youtube te remito al siguiente enlace. 3. Interrupción. Aunque no todos los docentes estén de acuerdo con este punto, yo soy partidario de ir interrumpiendo el vídeo que estés poniendo a tus alumnos. El hecho de parar un vídeo, de poder ver una imagen congelada es algo que vale la pena aprovechar para incidir sobre aquello que estés enseñando y que guarda relación directa con el vídeo. Parar, reanudar, volver atrás es una actividad que cuando enseñas en el aula no siempre puedes llevar a cabo. Aprovéchalo entonces cuando pongas un vídeo a tus alumnos. 4. Elección. No siempre es fácil elegir un vídeo que guarde una relación directa con aquello que estés enseñando en ese momento determinado del curso. Soy de la opinión de que un vídeo no sólo

"Enamorar con la palabra con el Método TED. El artículo de hoy no hubiera sido posible sin la lectura del libro titulado El Método Ted Para Hablar En Público de Jeremey Donovan. Se trata de un libro que recopila de forma clara y amena la manera con la que debes enfrentarte a tu público, con la que debes enfrentarte a tus alumnos. Un público que cada día espera lo mejor de ti. Un público que se merece que les des lo mejor de ti. Esta entrada tiene la finalidad de darte a conocer algunas pautas para hablar con éxito en público y enamorar a tus alumnos mediante el poder de la palabra. ¿Preparado para aprender trucos increíbles sobre cómo hablar en público? ¿Dispuesto a conocer los secretos de las mejores charlas TED? Si es así, te invito a que me acompañes. Te aseguro que el artículo te va a encantar. Luces, cámara… ¡Acción! Método TED Imagen extraída de Shutterstock ¿Qué son las conferencias TED? A propósito de Método TED. Por si a día de hoy desconoces las charlas TED, te diré que TED son las siglas de las palabras Tecnología, Entretenimiento y Diseño. TED es una organización dedicada a difundir temas de interés mundial como la ciencia, la educación, el diseño, el arte, la tecnología… Se trata de un tipo de charla con un formato muy concreto y que a día de hoy cuenta más de 1.000 charlas y más de 400 millones de reproducciones. Para hacerte una idea de lo que es una charla TED aquí te dejo esta famosísima charla de la gran educadora Rita Pierson de la que hablé en un artículo que titulé Docentes que inspiran. El caso de Rita Pierson. Método TED para hablar en público. Cómo enamorar a tus alumnos con el poder de la palabra. ¿Cómo se enamora con la palabra? ¿Qué se necesita para captar la atención de tus alumnos? Jeremey Donovan ha realizado un estudio de las charlas TED con más visitas y ha llegado a la conclusión de que parten siempre de lo que él denomina la conexión emocional basada en cuatro necesi

"1. Discusión. Discute con tus alumnos si aquello que les has enseñado tiene una lógica, tiene una aplicación total o parcial en la vida real. El diálogo es un excelente recurso para la comprensión de contenidos. 2. Definición. Haz que tus alumnos definan los conceptos que les has enseñado en tu sesión lectiva. Procura que las definiciones no se basen en la memorización, sino en la comprensión del concepto. 3. Perspectiva. Haz que tus alumnos interaccionen entre ellos para que por ellos mismos descubran si su aprendizaje es el correcto, es decir, si coinciden en lo que han aprendido. Esta comprobación puede hacerse perfectamente por parejas o con grupos de tres o cuatro alumnos. 4. Listado. La creación de listados a modo de glosario es una práctica realmente útil y eficaz de cara a la asimilación de los conceptos explicados en una sesión lectiva o en una Unidad Didáctica. El listado tiene la virtud de concretar la esencia de tus enseñanzas. 5. Esquema. Siempre que sea posible, transforma los conceptos de tu sesión lectiva en forma de esquema. De esta manera tus alumnos trabajarán los contenidos de una forma más visual. 6. Examen. Examinar a tus alumnos es una forma más de comprobar si tus alumnos han captado tus enseñanzas. Ahora bien, no olvides que no tiene por qué ser el método de comprobación más importante o más valorado. Procura que tus exámenes se basen más en la realización de procedimientos que en la mera memorización de conceptos. 7. Justificación. Procura que tus alumnos, en la medida de lo posible, justifiquen y defiendan aquellos contenidos adquiridos en tus clases. Haz que verbalicen aquello que aprenden, porque es una de las mejores maneras para afianzar cualquier proceso de enseñanza-aprendizaje. 8. Conexión. Enseña a tus alumnos a conectar un concepto con otro concepto trabajado previamente en tus sesiones lectivas. Incluso puedes ir más allá e intentar conectar un concepto de tu asignatura con otro con

"Seguro que de una manera directa o indirecta habrás oído hablar del método pedagógico denominado Flipped Classroom o también conocido como clase al revés o clase invertida. En Justifica tu respuesta siempre ha habido una voluntad de aunar Tecnología con Educación y creo que el modelo Flipped Classroom responde a muchos de los retos y desafíos que se te presentarán como docente desde ya mismo. No quiero continuar este artículo sin hacer mención a un libro que se ha convertido en el libro de cabecera para entender las claves del modelo pedagógico Flipped Classroom. En concreto, se trata del libro The Flipped Classroom: Cómo convertir la escuela en un espacio de aprendizaje escrito a seis manos por Javier Tourón, Raúl Santiago y Alicia Díaz. Creo que no hay mejor libro sobre Flipped Classroom escrito en lengua hispana y que haya sabido explicar de forma tan clara cómo convertir el aula en un espacio de aprendizaje. Un excelente punto de partida para una forma de transformar la educación del siglo XXI. Flipped Imagen extraída de Shutterstock 10 Claves para entender el modelo pegagógico Flipped Classroom. 1. Definición. Quiero compartir contigo qué se entiende por Flipped Classroom a través de la definición que aparece en www.theflippedclassroom.com: "Modelo pedagógico que transfiere determinados procesos fuera del aula y utiliza el tiempo de clase, juntamente con la experiencia docente, para facilitar y potenciar procesos de adquisición y práctica de conocimientos dentro del aula." En esta definición está, sin duda, planteado un cambio sustancial del papel imprescindible del docente tanto dentro como fuera del aula, así como la transformación del tiempo y del espacio en ese aula en la que los alumnos parten desde el inicio de una sesión con unos conocimientos previos. 2. Metodología. Por encima de todo el modelo Flipped es una modelo metodológico en el que el papel de la escuela, del docente y del alumno se transforman para