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Lisa M Lane

How Is New Media Reshaping the Work of Historians? - 7 views

  • There is some ambiguity about what they actually published online, however. The question asked them not to include digital versions of their print books or journal articles in their count, but most said their work was published on a journal’s site (Figure 5)
    • Lisa M Lane
       
      And we expect students to read the instructions! If they did, I suspect a lack of understanding about the sites involved.
  • Use of new media to do something new or different with the scholarship was a very minor consideration, however. Less than 40 percent of the respondents who had considered publishing online listed linking to other materials, publishing additional sources, or telling their stories in a new way as part of their thinking.
  • there was a significant difference between the power users and the rest of the published historians on these issues, as they were two to three times more likely to emphasize doing something new or different with the medium as the value of publishing online.
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    Historians using digital technologies for reading and publishing.
Ed Webb

How to Land Your Kid in Therapy - Magazine - The Atlantic - 11 views

  • Meanwhile, rates of anxiety and depression have also risen in tandem with self-esteem. Why is this? “Narcissists are happy when they’re younger, because they’re the center of the universe,” Twenge explains. “Their parents act like their servants, shuttling them to any activity they choose and catering to their every desire. Parents are constantly telling their children how special and talented they are. This gives them an inflated view of their specialness compared to other human beings. Instead of feeling good about themselves, they feel better than everyone else.” In early adulthood, this becomes a big problem. “People who feel like they’re unusually special end up alienating those around them,” Twenge says. “They don’t know how to work on teams as well or deal with limits. They get into the workplace and expect to be stimulated all the time, because their worlds were so structured with activities. They don’t like being told by a boss that their work might need improvement, and they feel insecure if they don’t get a constant stream of praise. They grew up in a culture where everyone gets a trophy just for participating, which is ludicrous and makes no sense when you apply it to actual sports games or work performance. Who would watch an NBA game with no winners or losers? Should everyone get paid the same amount, or get promoted, when some people have superior performance? They grew up in a bubble, so they get out into the real world and they start to feel lost and helpless. Kids who always have problems solved for them believe that they don’t know how to solve problems. And they’re right—they don’t.”
  • I asked Wendy Mogel if this gentler approach really creates kids who are less self-involved, less “Me Generation.” No, she said. Just the opposite: parents who protect their kids from accurate feedback teach them that they deserve special treatment. “A principal at an elementary school told me that a parent asked a teacher not to use red pens for corrections,” she said, “because the parent felt it was upsetting to kids when they see so much red on the page. This is the kind of self-absorption we’re seeing, in the name of our children’s self-esteem.”
  • research shows that much better predictors of life fulfillment and success are perseverance, resiliency, and reality-testing
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  • “They believe that ‘average’ is bad for self-esteem.”
  • Jane told me that because parents are so sensitive to how every interaction is processed, sometimes she feels like she’s walking on eggshells while trying to do her job. If, for instance, a couple of kids are doing something they’re not supposed to—name-calling, climbing on a table, throwing sand—her instinct would be to say “Hey, knock it off, you two!” But, she says, she’d be fired for saying that, because you have to go talk with the kids, find out what they were feeling, explain what else they could do with that feeling other than call somebody a “poopy face” or put sand in somebody’s hair, and then help them mutually come up with a solution. “We try to be so correct in our language and our discipline that we forget the true message we’re trying to send—which is, don’t name-call and don’t throw the sand!” she said. “But by the time we’re done ‘talking it through,’ the kids don’t want to play anymore, a rote apology is made, and they’ll do it again five minutes later, because they kind of got a pass. ‘Knock it off’ works every time, because they already know why it’s wrong, and the message is concise and clear. But to keep my job, I have to go and explore their feelings.”
  • “The ideology of our time is that choice is good and more choice is better,” he said. “But we’ve found that’s not true.”
  • Kids feel safer and less anxious with fewer choices, Schwartz says; fewer options help them to commit to some things and let go of others, a skill they’ll need later in life.
  • Most parents tell kids, ‘You can do anything you want, you can quit any time, you can try this other thing if you’re not 100 percent satisfied with the other.’ It’s no wonder they live their lives that way as adults, too.” He sees this in students who graduate from Swarthmore. “They can’t bear the thought that saying yes to one interest or opportunity means saying no to everything else, so they spend years hoping that the perfect answer will emerge. What they don’t understand is that they’re looking for the perfect answer when they should be looking for the good-enough answer.”
  • what parents are creating with all this choice are anxious and entitled kids whom she describes as “handicapped royalty.”
  • When I was my son’s age, I didn’t routinely get to choose my menu, or where to go on weekends—and the friends I asked say they didn’t, either. There was some negotiation, but not a lot, and we were content with that. We didn’t expect so much choice, so it didn’t bother us not to have it until we were older, when we were ready to handle the responsibility it requires. But today, Twenge says, “we treat our kids like adults when they’re children, and we infantilize them when they’re 18 years old.”
  • too much choice makes people more likely to feel depressed and out of control
edutopia .org

How to Manage the "Late to the Game" Parent | Edutopia - 4 views

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    Guest blogger Holden Clemens (pseudonym) describes the frustrations of working with "late to the game" parents and how to better manage parent communications. 
Meredith Johnson

Increasing Engagement in School Web Sites - 10 views

http://www.vizu.com/index.html Easy to use resource that could increase family involvement in education!

polling engagement web sites

started by Meredith Johnson on 28 Oct 11 no follow-up yet
Suzie Nestico

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

  • 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

  • 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.
Gary Bertoia

RSS feed to WebSlides - 58 views

Used the Bookmarks RSS feed to show how you can add a WebSlide RSS feed to a blog. I am not sure if I missed something but when I clicked on the WebSlide icon shown in the Groups bookmarks section ...

diigo rss webslides

started by Gary Bertoia on 30 Mar 08 no follow-up yet
Ed Webb

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

  • 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.
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  • 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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