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Claude Almansi

President Obama Presents American Jobs Act (Enhanced Version) - YouTube - 0 views

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    "Uploaded by whitehouse on Sep 8, 2011 Shares plan to create jobs with joint session of Congress. September 8, 2011." With captions and interactive transcript
Claude Almansi

LibraryLaw Blog: Breaking News: Digital Promise legislation passes - 2 views

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    Mary Minow August 01, 2008 Breaking News: Digital Promise legislation passes "Digital Promise Passed by Both Houses of Congress On Thursday, July 31, 2008, the legislation to create the Digital Promise was passed by both the House and Senate as part of the reauthorization of the Higher Education Act. It is expected to be signed into law by President Bush within days. The name has been changed to the "National Center for Research in Advanced Information and Digital Technologies." I much preferred "Digital Promise" but the main thing is that the legislation has passed. What it will do: It will create a Congressionally originated 501(c)(3) nonprofit corporation within the U.S. Department of Education. It will have a nine-member independent Board of Directors appointed by the Secretary of Education from nominations by members of Congress. Grants and contracts will be awarded on merit, and policies will be developed following the tested procedures of NSF and NIH. The Center will be able to receive grants, contracts, and philanthropic contributions, as well as federal appropriations. See the National Center section of the bill ."
Claude Almansi

Interviews with Orson Welles : pamstv : Free Download & Streaming : Internet Archive - 2 views

  • interview 01
  • interview 03
  • interview 07
    • Claude Almansi
       
      other people's movies
    • Claude Almansi
       
      theatre
    • Claude Almansi
       
      radio
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  • interview 02
  • interview 08
    • Claude Almansi
       
      "It's all True" documentary and influence on Welles' carreer
    • Claude Almansi
       
      Fairy stories, horror, children
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    Recordings of almost 4 hours of a series of interviews conducted by director/author Bogdanovich with Welles between the years 1969 and 1972. * * * * * * * * * * * * * In the late '60s and early '70s, filmmaker Peter Bogdanovich had conducted extensive interviews with Welles, but a number of circumstances--including the director's decision to compose an autobiography that he never got around to writing--kept the interviews out of the public eye. Finally edited and annotated by Jonathan Rosenbaum, these conversations give wonderful insights into Welles's craft and personality. He discusses his forays into acting, producing, and writing as well as directing, his confidences and insecurities, and his plans for film projects that were either never made or only partially completed. He also offers insights into the triumph of Citizen Kane and later masterpieces like The Lady from Shanghai, Touch of Evil, Othello, and Chimes at Midnight. His defense of his controversial adaptation of Kafka's The Trial is so fascinating that listeners might want to rush out and rent the film.
Jeff Johnson

Ten Common Copyright Permission Myths (Copyright Clearance: Fair Use, Copyrig... - 0 views

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    Although the First Amendment may appear unconditional on its face, the right to speak and write freely has never been absolute. Intellectual property rights often prevail over an author's "creative license." The main benefit of copyright, for example, is the right to exclude others from making copies of a work (or any part of it) without permission. By protecting an author's expression, copyright guarantees that authors and other creators, derive financial benefits from their work. If you intend to use someone's copyrighted work, unless the use is considered a "fair use" (which is technically a defense to copyright infringement), you must obtain that person's written permission. Under federal law, only the copyright owner or someone acting with the owner's authority, such as a publisher, can grant that permission. Without written permission, you expose yourself to legal risks. While not every unauthorized use of a copyrighted work is an infringement, whenever you include another person's words, illustrations, photographs, charts or graphs in a work you publish, you must be sensitive to the risk of infringing someone's copyright. What follows are some common copyright permission myths.
Willy Kjellstrom

Copyright, Fair Use, and Teaching and Learning Innovation in a Web 2.0 World | EDUCAUSE - 0 views

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    This ECAR research bulletin reviews some of the basic tenets of copyright in the digital millennium. Specifically, it discusses the ways in which copyright law, fair use provisions, and the TEACH Act interact with today's teaching and learning, especially the use of Web 2.0 tools by both faculty members and students.
Anne Bubnic

75% of AISD eighth-graders fail technology test - 0 views

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    In 2002, The No Child Left Behind Act said that students should be technologically literate by the end of the 8th grade. Texas developed a long list of specific technology skills students should know, but nobody has required that students learn them. "We have a difficult time finding the time for the students to be taught these technology skills since teachers have to focus on preparing students for the TAKS test," said Mark Gabehart, AISD's technology chief.
Ben Rimes

Coronet Instructional Films : Free Movies : Download & Streaming : Internet Archive - 12 views

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    Collection of those "old time" 1940s era safety, hygiene, and "do and don't" videos that are so often parodied. Archive of the PSA like films that encourage young students how to act, behave, and treat one another. Great resources for a video course, or classrooms looking to produce their own PSAs in the the old "Jimmy shouldn't do this..." style videos.
Caroline Bucky-Beaver

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

  • 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.
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  • 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.
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    Great article outlining copyright, fair use and explaning the 5 principles of fair use in education.
Martin Burrett

Masquerade - 1 views

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    "This app adds augmented reality mask layers to videos allowing users to wear virtual costumes or masks. Great for character acting or allowing shy students to appear on camera as someone or something else."
Martin Burrett

Book: Hairdresser or Footballer by @year6missNW with @RossMcGill via @JohnCattEd - 0 views

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    "We often tend to think about gender as the biological differences between women and men - however, this is incorrect. Gender is what actually gets expressed - how we look, how we act and how we feel. While sex is determined by what is dictated by our biology or what is written into the chromosomes, known as genotype, it is the interaction between the genes and the environment that determines gender. The amazing thing about gender is that it is completely created by society. It is a social construct that has been accepted by many, and from the moment a child is born, they are faced with gender stereotypes from clothing to how boys and girls are treated and expectations of behaviour. The question is, how do we as educators eliminate gender stereotypes?"
Martin Burrett

Online safeguarding: trends, tools and guidelines by @CaynsleyEsafety - 1 views

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    "While every school knows the importance of safeguarding in our digital world, it's also important that they know and understand the most effective strategies to help safeguard their pupils online, both in and out of the classroom. The UK Council for Child Internet Safety (UKCCIS), have recently launched a framework which aims to highlight, across all key stages, the skills and knowledge children should have in order to feel safe, and act responsibly, online so that they are able to enjoy the online world."
Martin Burrett

Kindness by @sheep2763 - 0 views

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    "It may always be possible but life is busy and although I don't think that most people (including me) intend to be unkind they can sometimes be thoughtless rather than unkind. At school amongst other bits and pieces, I oversee the School Council. Our School Council consists of children from Y1 to Y6 and at a recent meeting, they brought their suggestions as to what we could do to make our school even better. They came up with several suggestions including Reintroduce Random Acts of Kindness awards Reintroduce Headteacher awards"
Martin Burrett

Rules about technology use can undermine academic achievement - 0 views

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    "Parents who restrict their children's use of new media technologies may be acting counterproductively in the long run, particularly if they invoke afterschool homework time as the reason. Their children's scholastic achievements at college lag behind the academic performance of same-age peers, a University of Zurich study shows."
Martin Burrett

Running an Extra Curricular Activity (Why, What and How) by @richardjarogers - UKEdChat - 0 views

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    "My teenage years were brilliant, and one of the reasons for this is that I was involved in so many active clubs and hobbies. I was an army cadet, I did karate and I even tried hockey and acting for a short while. The Extra-Curricular Activities (ECAs) I did as a kid shaped my character more than my lessons in school. I can say that with conviction. In my ECAs, I made new and lasting friendships and learnt cool skills (such as how to start a fire with potassium permanganate, and how to disarm an attacker with a pistol)."
Vicki Davis

Activities - 16 views

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    This website has activities organized from K-8 for science experiments and online activities. Some interesting ideas here.
Ed Webb

Alan Kay, Systems, and Textbooks « Theatrical Smoke - 2 views

  • I discuss his key idea: that systemic thinking is a liberal art, and I explain a corollary idea, that textbooks suck
  • if you don’t have a category for an idea, it’s very difficult to receive that idea
  • the story of the last few hundred years is that we’ve quickly developed important ideas, which society needs to have to improve and perhaps even to continue to exist, and for which there are no pre-existing, genetically created categories. So there’s an idea-receiving capacity gap.
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  • Education’s job should be, says Kay, to bridge this gap. To help, that is, people form these necessary new idea-receiving categories–teaching them the capacity for ideas–early on in their lives, so that as they grow they are ready to embrace the things we need them to know. Let me say that in a better way: so that as they grow they are ready to know in the ways we need them to know.
  • cultivate the ability to conceive of, work with, create, understand, manipulate, tinker with, disrupt, and, generally, appreciate the beauty of systems
  • Seeing systems is an epistemology, a way of knowing, a mindset
  • a game, or a simulation, thought of as a thing we might create (rather than a thing we only act within), is a visceral example of systems thinking
  • It’s the Flatland story–that we need to train our 2D minds to see in a kind of 3D–and Kay’s genius is that he recognizes we have to bake this ability into the species, through education, as close to birth as possible.
  • Systems thinking is to be conceived of as a platform skill or an increased capacity on top of which we will be able to construct new sorts of ideas and ways of knowing, of more complex natures still. The step beyond seeing a single system is of course the ability to see interacting systems – a kind of meta-systemic thinking – and this is what I think Kay is really interested in, because it’s what he does. At one point he showed a slide of multiple systems–the human body, the environment, the internet, and he said in a kind of aside, “they’re all one system . . .”
  • The point is to be able to see connections between the silos. Says Kay, the liberal arts have done a bad job at “adding in epistemology” among the “smokestacks” (i.e. disciplines)
  • What happens when you’re stuck in a system? You don’t understand the world and yourself and others as existing in constant development, as being in process; you think you are a fixed essence or part within a system (instead of a system influencing systems) and you inadvertently trap yourself in a kind of tautological loop where you can only think about things you’re thinking about and do the things you do and you thus limit yourself to a kind of non-nutritive regurgitation of factoids, or the robotic meaningless actions of an automaton, or what Kay calls living in a pop culture
  • A downside of being epistemologically limited to thinking within a system is that you overemphasize the importance of the content and facts as that system orders them
Martin Burrett

Playscripts for Kids - 7 views

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    A great collection of play scripts for children. Browse 100s of plays on a range on topics. http://ictmagic.wikispaces.com/English
Brendan Murphy

Whiteboarding Mistake Game: A Guide « Physics! Blog! - 10 views

  • your job is to ask questions of the group up front. If you think there is something they need to change about their board, you need to ask them questions to get them to change it.
    • Brendan Murphy
       
      Don't tell them what is wrong, but rather ask questions until they fix what is wrong.
  • they must walk their peers through their thinking so that their mistake will be highlighted.
  • group always has the option to act as though it were intentional
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  • there is a need for that quiet reflection.
  • Students are delightfully picky about each other’s work
  • Asking questions is tough!
Vicki Davis

Success Starts at Home - Part 2 « The Balancing Act - Show Blog - 1 views

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    The second part in the series for lifetime. It will be on my blog next week but if you read part one yesterday, here is part two!
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