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Dave Truss

CI-portfolio - Creating Your UNI Teacher Ed e-Portfolio - 14 views

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    Below you will find a set of instructional materials that should make your creation easier. You can begin by reviewing some samples of e-Portfolios created in the Educational Technology and Design class in C&I.
Suzie Nestico

Digital Portfolio Midels - 10 views

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    Includes instructional videos for using Google Sites with students to create portfolios.
Dave Truss

What's the purpose? « scmorgan - 8 views

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    "...My students were not able to "take" or "compile" much of their work. Yes, they created a list of what I asked. Yes, they created a cute "container" in which to hold their work. But I don't believe their portfolio truly represents their thinking, creating, and publishing this year. And that's too bad."
Suzie Nestico

Creating an Online Community Through Electronic Creating - ReadWriteThink - 20 views

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    Series of lessons that help create an online blogging community for students. PLN in a sense. Helps to give students more of an audience.
Vicki Davis

8 Educational Apps To Create Digital Portfolios - 15 views

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    All of my students are required to create an efolio. Every year they update it, eventually producing a personal website to use for themselves for the future. Here are 8 apps that help you do this.
Nspire IT Jobs

Blackberry Engineer (3-6mths Contract, Immediate start) ACT $90-$100 per hour + - 0 views

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    Our client specializes in Security and Gateway services. A newly created contract position is available for a Blackberry Engineer. As the successful Blackberry Engineer, you will be working with the best of best and part of a team of highly skilled professionals. The project is high profile and part of a highly secured Federal Government portfolio. This is a 6 months contract. You will be required to have both design and implementation of the BlackBerry infrastructure experience across a Federal Government enterprise level. The following mandatory requirements include: *Demonstrated knowledge and experience in designing a BlackBerry Server Infrastructure to support a large Federal Government customer. *Security Clearance Essential (Restricted or Baseline).
Vicki Davis

VidCaster - Online Video Platform & Video Site Builder - 13 views

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    New video website creation website from Richard Byrne 's website. I wonder how many schools will create video repositories using this site. It could also be a good way to have video portfolios made from a YouTube channel for a student.
Vicki Davis

How To Use Google Drive and Evernote To Create Digital Portfolios - 16 views

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    ePortfolios can be done in just about any medium, with Google Drive and Evernote being two of the easiest. Here's Edudemic's guide for this.
Mrs. Jepson

Eportfolios - 31 views

  • This Google Site has been set up by Dr. Helen Barrett to focus on the use of Google Apps to create ePortfolios. On this site, there are instructions on how to use the different elements of Google Apps to maintain e-Portfolios.
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    Electronic porfolios
Caroline Bucky-Beaver

Footprints in the Digital Age - 0 views

  • It's a consequence of the new Web 2.0 world that these digital footprints—the online portfolios of who we are, what we do, and by association, what we know—are becoming increasingly woven into the fabric of almost every aspect of our lives.
  • A recent National School Boards Association survey (2007) announced that upward of 80 percent of young people who are online are networking and that 70 percent of them are regularly discussing education-related topics.
  • By and large, they do all this creating, publishing, and learning on their own, outside school, because when they enter the classroom, they typically "turn off the lights" (Prensky, 2008).
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  • This may be the first large technological shift in history that's being driven by children.
  • The new literacy means being able to function in and leverage the potential of easy-to-create, collaborative, transparent online groups and networks, which represent a "tectonic shift" in the way we need to think about the world and our place in it (Shirky, 2008). This shift requires us to create engaged learners, not simply knowers, and to reconsider the roles of schools and educators.
  • Publishing content online not only begins the process of becoming "Googleable," it also makes us findable by others who share our passions or interests.
  • Although many students are used to sharing content online, they need to learn how to share within the context of network building. They need to know that publishing has a nobler goal than just readership—and that's engagement.
  • These new realities demand that we prepare students to be educated, sophisticated owners of online spaces.
  • More than ever before, students have the potential to own their own learning—and we have to help them seize that potential. We must help them learn how to identify their passions; build connections to others who share those passions; and communicate, collaborate, and work collectively with these networks.
  • Get Started! Here are five ideas that will help you begin building your own personal learning network. Read blogs related to your passion. Search out topics of interest at http://blogsearch.google.com and see who shares those interests. Participate. If you find bloggers out there who are writing interesting and relevant posts, share your reflections and experiences by commenting on their posts. Use your real name. It's a requisite step to be Googled well. Be prudent, of course, about divulging any personal information that puts you at risk, and guide students in how they can do the same. Start a Facebook page. Educators need to understand the potential of social networking for themselves. Explore Twitter (http://twitter.com), a free social networking and micro-blogging service that enables users to exchange short updates of 140 characters or fewer. It may not look like much at first glance, but with Twitter, the network can be at your fingertips.
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    Very interesting article regarding our need as educators to teach students how to build their own PLNs. Teachers need to lead by example. He gives quick tips in the end on how to establish a PLN.
Nelly Cardinale

VisualCV * Get a better resume, online. - 11 views

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    A free Web 2.0 site for creating a Multimedia CV or resume
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    A free Web 2.0 site for creating a Multimedia CV or resume
Megan Black

TwistedWave, an Audio Editor - 16 views

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    Record and Share Audio files. Like Audacity and Garage Band in the cloud with sync to Google Drive.
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.)
  • The principles are all subject to a “rule of proportionality.” 
  • 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
  • TWO:  Employing Copyrighted Materials in Preparing Curriculum Materials
  • 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.
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