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Suzie Nestico

Assessment Tools Needed in Every Classroom | edtechdigest.com - 15 views

edtechdigest.wordpress.com/...ools-needed-in-every-classroom

assessment edtech education LMS SMS

shared by Suzie Nestico on 05 Nov 11 - No Cached
  • n ideal classroom to me would be one where teachers were all given tablets in a wi-fi or, ideally, a satellite-based classroom where that tablet was connected to the school intranet and Internet. From there, an app would connect me to the school’s Student Management System (SMS) where I could see vital student info
  • What I talk about is not science fiction. I could mention countless products that do at least one part of what I have described. The technology exists today for all of this to become a reality. We can make it a reality—we only need more educators involved in productive discussions stating what they really need, and helping those in industry to create these products for us. Keeping track of data and sharing it with others should not be such a tedious task. Let us together build the next big learning management system, assessment tool, data dashboard and performance indicator all in one. We’re closer to achieving that reality than you might think.
Caroline Bucky-Beaver

Code of Best Practices in Fair Use for Media Literacy Education - 1 views

wwwdev.ncte.org/...fairusemedialiteracy

medialiteracy bestpractices copyright fairuse 5 principles 2008 digitalcitizenship

shared by Caroline Bucky-Beaver on 12 Nov 08 - Cached
  • Fair use is the right to use copyrighted material without permission or payment under some circumstances -- especially when the cultural or social benefits of the use are predominant. It is a general right that applies even in situations where the law provides no specific authorization for the use in question -- as it does for certain narrowly defined classroom activities.
  • guide identifies five principles that represent the media literacy education community’s current consensus about acceptable practices for the fair use of copyrighted materials
  • code of best practices does not tell you the limits of fair use rights. Instead, it describes how those rights should apply in certain recurrent situations.
  • ...30 more annotations...
  • Media literacy education distinctively features the analytical attitude that teachers and learners, working together, adopt toward the media objects they study. The foundation of effective media analysis is the recognition that: All media messages are constructed.Each medium has different characteristics and strengths and a unique language of construction.Media messages are produced for particular purposes.All media messages contain embedded values and points of view.People use their individual skills, beliefs and experiences to construct their own meanings from media messages.Media and media messages can influence beliefs, attitudes, values, behaviors, and the democratic process. Making media and sharing it with listeners, readers, and viewers is essential to the development of critical thinking and communication skills. Feedback deepens reflection on one’s own editorial and creative choices and helps students grasp the power of communication.
  • Lack of clarity reduces learning and limits the ability to use digital tools. Some educators close their classroom doors and hide what they fear is infringement; others hyper-comply with imagined rules that are far stricter than the law requires, limiting the effectiveness of their teaching and their students’ learning.
  • Educators and learners in media literacy often make uses of copyrighted materials that stand far outside the marketplace, for instance, in the classroom, at a conference, or within a school-wide or district-wide festival. Such uses, especially when they occur within a restricted-access network, do enjoy certain copyright advantages.
  • Law provides copyright protection to creative works in order to foster the creation of culture. Its best known feature is protection of owners’ rights. But copying, quoting, and generally re-using existing cultural material can be, under some circumstances, a critically important part of generating new culture.
  • In reviewing the history of fair use litigation, we find that judges return again and again to two key questions: Did the unlicensed use "transform" the material taken from the copyrighted work by using it for a different purpose than that of the original, or did it just repeat the work for the same intent and value as the original? Was the material taken appropriate in kind and amount, considering the nature of the copyrighted work and of the use? If the answers to these two questions are "yes," a court is likely to find a use fair. Because that is true, such a use is unlikely to be challenged in the first place.
  • Both key questions touch on, among other things, the question of whether the use will cause excessive economic harm to the copyright owner. Courts have told us that copyright owners aren’t entitled to an absolute monopoly over transformative uses of their works.
  • Another consideration underlies and influences the way in which these questions are analyzed: whether the user acted reasonably and in good faith, in light of general practice in his or her particular field.
  • Code of Best Practices in Fair Use for Media Literacy Education
  • Through its five principles, this code of best practices identifies five sets of current practices in the use of copyrighted materials in media literacy education to which the doctrine of fair use clearly applies. These practices are associated with K–12 education, higher education, and in classes given by nonprofit organizations. When students or educators use copyrighted materials in their own creative work outside of an educational context, they can rely on fair use guidelines created by other creator groups, including documentary filmmakers and online video producers.
  • These principles apply to all forms of media.
  • The principles apply in institutional settings and to non-school-based programs. 
  • The principles concern the unlicensed fair use of copyrighted materials for education, not the way those materials were acquired. 
  • where a use is fair, it is irrelevant whether the source of the content in question was a recorded over-the-air broadcast, a teacher’s personal copy of a newspaper or a DVD, or a rented or borrowed piece of media. Labels on commercial media products proclaiming that they are “licensed for home [or private or educational or noncommercial] use only” do not affect in any way the educator’s ability to make fair use of the contents—in fact, such legends have no legal effect whatsoever. (If a teacher is using materials subject to a license agreement negotiated by the school or school system, however, she may bebound by the terms of that license.)
  • TWO:  Employing Copyrighted Materials in Preparing Curriculum Materials
  • fairness of a use depends, in part, on whether the user tookmore than was needed to accomplish his or her legitimate purpose.
  • PRINCIPLES
  • ONE:  Employing Copyrighted Material in Media Literacy Lessons
  • The principles are all subject to a “rule of proportionality.” 
  • THREE:  Sharing Media Literacy Curriculum Materials
  • In materials they wish to share, curriculum developers should beespecially careful to choose illustrations from copyrighted media that are necessaryto meet the educational objectives of the lesson, using only what furthers theeducational goal or purpose for which it is being made.
  • FOUR:  Student Use of Copyrighted Materials in Their Own Academic and Creative Work
  • Students should be able to understand and demonstrate, in a mannerappropriate to their developmental level, how their use of a copyrighted workrepurposes or transforms the original. For example, students may use copyrightedmusic for a variety of purposes, but cannot rely on fair use when their goal is simplyto establish a mood or convey an emotional tone, or when they employ popular songssimply to exploit their appeal and popularity.
  • FIVE:  Developing Audiences for Student Work
  • If student work that incorporates, modifies, and re-presents existingmedia content meets the transformativeness standard, it can be distributed to wideaudiences under the doctrine of fair use.
  • Educators and learners in media literacy often make uses of copyrighted works outside the marketplace, for instance in the classroom, a conference, or within a school-wide or district-wide festival. When sharing is confined to a delimited network, such uses are more likely to receive special consideration under the fair use doctrine.
  • Especially in situations where students wish to share their work more broadly (by distributing it to the public, for example, or including it as part of a personal portfolio), educators should take the opportunity to model the real-world permissions process, with explicit emphasis not only on how that process works, but also on how it affects media making.
  • The ethical obligation to provide proper attribution also should be examined.
  • This code of best practices, by contrast, is shaped by educators for educators and the learners they serve, with the help of legal advisors. As an important first step in reclaiming their fair use rights, educators should employ this document to inform their own practices in the classroom and beyond
  • MYTH:  Fair Use Is Just for Critiques, Commentaries, or Parodies. Truth:  Transformativeness, a key value in fair use law, can involve modifying material or putting material in a new context, or both. Fair use applies to a wide variety of purposes, not just critical ones. Using an appropriate excerpt from copyrighted material to illustrate a key idea in the course of teaching is likely to be a fair use, for example. Indeed, the Copyright Act itself makes it clear that educational uses will often be considered fair because they add important pedagogical value to referenced media objects.
  • So if work is going to be shared widely, it is good to be able to rely on transformativeness. As the cases show, a transformative new work can be highly commercial in intent and effect and qualify under the fair use doctrine.
  • Caroline Bucky-Beaver on 12 Nov 08
     
    Great article outlining copyright, fair use and explaning the 5 principles of fair use in education.
Martin Burrett

Challenging students by @ncjbrown - 0 views

ukedchat.com/...allenging-students-by-ncjbrown

challenge students

shared by Martin Burrett on 27 Dec 15 - No Cached
  • Martin Burrett on 27 Dec 15
     
    As far as my work as a teacher and teacher trainer is concerned, I believe in challenging students and having high expectations of everyone in the classroom. This is coupled with appropriate support and guidance, which is then differentiated to meet pupils' and students' needs. To support my learners I provide relevant and specific praise and feedback, engaging and interesting tasks and activities, sound guidelines and instructions, solid question and answer sessions and clear, practical examples or modelling.
  • Walter Antoniotti on 10 Jan 16
     
    2) Alfie Kohn "In fact, there isn't even a positive correlation between, on the one hand, having younger children do some homework (vs. none), or more (vs. less), and, on the other hand, any measure of achievement. If we're making 12-year-olds, much less five-year-olds, do homework, it's either because we're misinformed about what the evidence says or because we think kids ought to have to do homework despite what the evidence says." Homework: An Unnecessary Evil? ... Findings from New Research 3) Tyler Cowen believed education can create potentially valuable workers by helping them improve their value by using smart machines and that these two are stronger complements than ever. Students may not be able to calculate like computers but we can teach students to be better readers of character and emotion and to be the best interpreters of the masses of information provided by the behavioral sciences and big data. Not all students need to do programming but they need to easily make the most of technology. He sees educators as motivators and online managers rather than as a professor. From Average is Over, 2013 by Tyler Cower Could a majority on workers hurt by Geekability add to A. Greenspan's fear of unrest?
Ed Webb

The Progressive Stack and Standing for Inclusive Teaching - The Tattooed Professor - 2 views

www.thetattooedprof.com/...tanding-for-inclusive-teaching

pedagogy inclusion

shared by Ed Webb on 15 May 20 - Cached
  • There are two fundamental truths about Inclusive Pedagogy: it is an eminently desirable set of practices for teaching in higher ed, and it is an eminently difficult set of practices for teaching in higher ed
  • Put simply, the Progressive Stack is a method of ensuring that voices that are often submerged, discounted, or excluded from traditional classroom discussions get a chance to be heard
  • There are personal, cultural, learning, and social reasons people don’t speak up in class.  Students of color and women of all races, introverts, the non-conventional thinkers, those from poor previous educational backgrounds, returning or “nontraditional students,” and those from cultures where speaking out is considered rude not participatory are all likely to be silent in a class where collaboration by difference is not structured as a principle of pedagogy and organization and design.   Who loses?  Everyone.  Arguments that are smart and valuable and can change a whole conversation get lost in silence and, sometimes, shame.  When that happens, we don’t really have discussion or collaboration.  We have group think–and that is why we all lose.
  • ...10 more annotations...
  • Taking “stack” just means keeping a list of people who wish to participate—offer a question or comment—during the Q & A. Rather than anxiously waving your hand around and wondering if you’ll be called on, if you would like to participate, signal to me in some way (a gesture, a dance move, a traditional hand-in-the-air, meaningful eye contact, etc.) and I will add you to the list. However, we’re not just going to take stack, we are going to take progressive stack in an effort to foreground voices that are typically silenced in dominant culture. According to Justine and Zoë, two self-identified transwomen who were active in the movement, progressive stack means that “if you self-identify as trans, queer, a person of color, female, or as a member of any marginalized group you’re given priority on the list of people who want to speak – the stack. The most oppressed get to speak first.” As I take stack, I will also do my best to bump marginalized voices and those who haven’t yet had a chance to participate to the top.
  • As with any tool that confronts the effects of privilege and power head-on, the Progressive Stack makes some people uncomfortable
  • In a complete social and historical vacuum, level-playing-field equality is an excellent proposition. But in the actual lived world of our history, experiences, and interactions the idea of treating everyone uniformly “regardless of gender” or without “seeing color” simply strengthens already-entrenched inequalities
  • As the increasing number of targeted online harassment campaigns has shown us, once a concept or issue has traveled through the right-wing Outrage-Distortion Complex, there is little hope of reclaiming rational discussion. It’s been permanently stained. One might dismiss the frothing lamentations of white-genocide-via-classroom-pedagogy that bubble up from a subreddit, but the insidious trope of “reverse racism” has put its thumb on the scale enough to have distorted the conversation around the Progressive Stack
  • because the Progressive Stack calls attention to existing structures of inequality by replacing them with another structure entirely, it forces those of us who identify as white (and, particularly, male) to confront the ways in which we have been complicit in maintaining inequality
  • When you’re accustomed to privilege, even the suggestion of equality will feel like oppression
  • google “progressive stack.” Almost every result you get will take you to the fever swamps of right-wing Reddit and warmed-over piles of gamergate droppings. The common denominator is that “Progressive Stack” is simply anti-white “racism” dressed in fancy intellectual clothes
  • Giving up power, it turns out, is hard for some people. Especially when that power has been historically-constructed to be so pervasive as to render it unquestioned and indeed unseen in its hegemonic sway. Pierre Bourdieu calls this symbolic power: “For symbolic power is that invisible power which can be exercised only with the complicity of those who do not want to know that they are subject to it or even that they themselves exercise it”
  • It means there will be times when people who are not accustomed to their identity being a source of discomfort and exclusion will have to learn–in a managed and intentional space–what that feels like.
  • there will be friction and messiness and uncomfortable adjustments, because any education worth the name involves friction and messiness and uncomfortable adjustments
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