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Suzie Nestico

#WW Twitter Welcome Wednesday -just the "Guidelines" | Kalinago English - 1 views

kalinago.blogspot.com/...er-welcome-wednesday-just.html

twitter all_teachers bestpractices edublogger technology edu_trends digitalcitizenship techintegrator professionaldevelopment #WW

shared by Suzie Nestico on 29 Mar 11 - No Cached
  • For example, do this#WW welcome @Craig an English Language Teacher based in Dubai, #ELT ~ interested in #dogme and chocolate. #TEFL#WW @Jenny - she's a Teen Fiction author based in Ireland. Open to being interviewed by your students.  #fiction #ireland #education #younglearners #WW shout out 2 @Bob a good buddy of mine, help me welcome him! - #mlearning evangelist #edublogger and head of #edtech at @UniversityofMiami But please don't do this:#WW @Jenny @Craig @Bob @June @Alice @TomatoHead @eLearningGuru  as this is unhelpful to everyone.
  • Suzie Nestico on 29 Mar 11
     
    Great idea to help colleagues get started on Twitter with a #WW ~ "Welcome Wednesday"
Matt Manfredi

Animoto - Create Video Slideshows - Style Selector - 0 views

animoto.com/create

animoto tools web2.0 technology create your presentation

shared by Matt Manfredi on 03 Apr 11 - Cached
  • Matt Manfredi on 03 Apr 11
     
    Video Creation Site
Suzie Nestico

Google+ could make Twitter the next Myspace | VentureBeat - 4 views

venturebeat.com/...-make-twitter-the-next-myspace

Google+ google plus edu_news edu_trends technology education techintegrator all_teachers edu_newapp

shared by Suzie Nestico on 04 Jul 11 - No Cached
  • Although Twitter is growing (having just hit 200 million tweets a day), Twitter has left itself open to be displaced with a slow pace of adding features. Even newly returned founder Jack Dorsey has said that it was too difficult for “normal” people to use Twitter.
  • Google+ is decidedly in the Twitter camp — meaning you can follow anyone, including Google CEO Larry Page. Google+ lets you see Page’s posts and “like” his photos of kite surfing in Alaska. When posting on Google+, it forces users to select specific social circles they are posting to, which includes “everyone” as an option that mimics a Twitter-style broadcast. I
  • There are two different types of social networks, private and public — each defined by its default privacy setting. Facebook is by default private and meant to connect actual friends. Twitter by default is public and anyone can follow anyone else.
  • Suzie Nestico on 04 Jul 11
     
    Interesting article found on Google+ via @markwagner
John Marr

Recovering from the Need to Achieve - HBS Working Knowledge - 2 views

hbswk.hbs.edu/...6690.html

iste11 educators knowledge working HBS professionaldevelopment

shared by John Marr on 29 Jun 11 - No Cached
  • e is an HNAP, or a high-need-for-achievement professional, according to Harvard Business
  • DeLong believes the tendency to be a high-need-for-achievement type is embedded in the DNA, an addiction that spans across socioeconomic groups. Instead of experiencing happiness or well-being, HNAPs seek "relief in the accomplishment of tasks." Moving immediately to the next task on the list, they never savor accomplishments for long, he says. This creates a vicious cycle marked by a feeling of little or no real sense of purpose and a "flatness"—in career and in life. They often go through patches of life without creating or enhancing meaningful relationships, and even lack strength to deal with life's failures.
  • So is there relief for HNAPs from all this obsessive comparing and competing?
  • ...4 more annotations...
  • Copyright © 2011 President and Fellows of Harvard College
  • I realize that most hard-driving managers and executives have been socialized to believe they cannot admit vulnerability to themselves or others. I would urge you to get past this misconception and realize that such admissions will enhance your productivity and career. So, consider: Do you regret any significant decisions you've made about your career? If you had to do it over again, would you do it differently? Have there been times when you treated your people unfairly? When you failed to listen and learn and instead directed and dictated? Do you feel you've been working at peak capacity in recent years? If not, why not? Are you unwilling to admit your mistakes to your direct reports? To your bosses? To your colleagues? Have you asked anyone for help recently? Have you admitted you didn't know something and needed to learn it? Have you asked for coaching? If you were to be completely honest with your boss and knew that there would be no negative repercussions, what secret fear or anxiety would you admit to him? Do you believe that you're in the right job, in the right group, and in the right organization? Or do you feel there's a mismatch between where you are now and what you want to accomplish
  • Letting go—or flying without a net—is a big part of DeLong's prescription. He calls for the reader to stop and reflect with self-awareness; let go of the past; create a vision or specific goal with an agenda; seek support through mentors and a network; don't blink (or fall back on old behaviors); and take action that makes you vulnerable.
    • John Marr
      John Marr on 29 Jun 11
       
      Do you know any students that are high-need-for-achievement?
  • John Marr on 29 Jun 11
     
    Harvard Business School Blog about high need for achievement professionals. Can this be applied to some of our students?
Suzie Nestico

Five Myths About the Common Core - 8 views

hepg.org/513

commoncore CCSS Standards education Common Core Harvard administrator all_teachers bestpractices curriculum

shared by Suzie Nestico on 05 Nov 11 - No Cached
  • Myth #1 The Common Core State Standards are a national curriculum.
  • Myth #2 The Common Core State Standards are an Obama administration initiative.
  • Myth #3 The Common Core standards represent a modest change from current practice.
  • ...7 more annotations...
  • Myth #4 States cannot implement the Common Core standards in the current budget climate.
  • Myth #5 The Common Core State Standards will transform schools.
  • Standards are not curriculum: standards spell out what students should know and be able to do at the end of a year; curriculum defines the specific course of study—the scope and sequence—that will enable students to meet standards.
  • States are building the assessments, and once the assessments are in place, they will be administered and operated by states. They are not federal tests.
  • In preparation for adoption of the Common Core standards, several states conducted analyses that found considerable alignment between them and their current standards
    • Suzie Nestico
      Suzie Nestico on 05 Nov 11
       
      Pennsylvania has same findinggs in its analysis of alignment of PA academic standards - closely aligned, ELA more than Math.
  • And officials in 76 percent of districts in Common Core states said in a survey released in September 2011 by the Center on Education Policy that inadequate funds for implementation was a major challenge.
  • But to have an effect on the day-to-day interaction between students and teachers, and thus improve learning, states and districts will have to implement the standards. That will require changes in curricula and assessments to align with the standards, professional development to ensure that teachers know what they are expected to teach, and ultimately, changes in teacher education so that all teachers have the capability to teach all students to the standards. The standards are only the first step on the road to higher levels of learning.
  • Suzie Nestico on 05 Nov 11
     
    What I've encountered most in dealing with colleagues is the fear and the notion that this is just another five to ten year fad in education. It is important first to help others understand CCSS are not a quick-fix or an answer. In some ways, CCSS take us back to what good teaching looks. Ultimately, aside from the budgetary concerns with implementation, perhaps the other greatest struggle here will be the state-level assessment of the CCSS. In order for states to get it right, there needs to adequate time devoted to determining adequate assessment, not drill-and-kill. Broad, interconnected, higher-order thinking cannot be bubbled-in. Period.
Dave Truss

Are you a writer? Show them. - 12 views

lynhilt.com/are-you-a-writer-show-them

writing 21stcenturylearning newliteracy lynhilt

shared by Dave Truss on 29 Oct 11 - No Cached
  • My “gut feeling” is that when we teach students to write, we do so too methodically. We sometimes allow adherence to form trump creativity. We assess according to state-issued rubrics that call for a certain structure to be followed. We “score” students on their abilities to be focused, include enough content, stay traditionally organized, use proper grammar and spelling, and use “style.” We neglect audience. We’re churning out writer-robots who spit back the format they think we want to see. We graphic-organizer-them to exhaustion.
    • Dave Truss
      Dave Truss on 29 Oct 11
       
      Brilliant!
  • Dave Truss on 29 Oct 11
     
    My "gut feeling" is that when we teach students to write, we do so too methodically. We sometimes allow adherence to form trump creativity... We neglect audience. We're churning out writer-robots who spit back the format they think we want to see. We graphic-organizer-them to exhaustion.
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.
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