Code of Best Practices in Fair Use for Media Literacy Education Adopted by the NCTE Executive Committee, November 2008 By: National Association for Media Literacy Education (NAMLE), Student Television Network (STN), Media Commission of the National Council of Teachers of English (NCTE), Action Coalition for Media Education (ACME), and Visual Communication Division of the International Communication Association (ICA) WHAT THIS ISThis document is a code of best practices that helps educators using media literacy concepts and techniques to interpret the copyright doctrine of fair use. 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. WHAT THIS ISN’TThis code of best practices does not tell you the limits of fair use rights. Robert W.
Copyright | APRA AMCOS Australia Copyright is free and automatic That's right - you don’t have to do anything to ‘get’ copyright; it is there from the moment you write down the song. So as soon as you create a new song or piece of music, you have copyright in it. Here are some common misconceptions about what's needed to copyright your songs and compositions: Copyright law enables creators to make a living from their work. The Australian Copyright Act gives songwriters and composers the right to control how their music is used. We look after the performing, communication and mechanical copyright of songwriters, composers and music publishers in Australia. What is a performing right? Songwriters and composers own the right to have their original music performed in public. · play their songs/compositions live at a venue or an event · play a recording of their songs/compositions in a business, venue or workplace · have their songs/compositions used in a film or advertisement What is a communication right? APRA AMCOS vs.
Plagiarism Workshop Overview | Materials | Workshop Hotlist | Workshop Outline | Additional Resources | Standards | Credits & Thanks Overview This one-hour workshop is intended to give high school students: an introduction to the issue of plagiarism, an overview of copyright laws and fair use provisions a demonstration of techniques to avoid plagiarism, focusing on paraphrasing, quoting, and citing sources. Presented here as an outline, this workshop can be expanded or contracted to meet time constraints, and student interest, concern, or grade level. Materials Needed Workshop Hotlist Bookmark the Internet sites to be accessed in advance or project this hotlist during the workshop itself. I. II. III. IV. V. VI. Workshop Outline I. Copyright Lesson Plan by Laura Kaemming This online lesson plan was designed for 8th grade students to be implemented over the course of several days. Copyright Worksheet Distribute worksheet to students as they enter. II. Project the website. III.
Curriculum: Understanding YouTube & Digital Citizenship – Google in Education Overview We have devised an interactive curriculum aimed to support teachers of secondary students (approximately ages 13-17). The curriculum helps educate students on topics like: YouTube’s policies How to report content on YouTube How to protect their privacy online How to be responsible YouTube community members How to be responsible digital citizens We hope that students and educators gain useful skills and a holistic understanding about responsible digital citizenship, not only on YouTube, but in all online activity. Lessons in English Below is a list of lessons, and the recommended flow for delivery. Or you can download the Full Teacher's Guide or the Full Set of Slides in PDF. Lessons in Additional Languages Below is a list of lessons and resources in additional languages beyond English: Learn more To learn more visit the Classroom videos page of this website, where you can find links to information on:
Student Bloggers The Bloggers' FAQ on Student Blogging addresses legal issues arising from student blogging. It focuses on blogging by high school (and middle school) students, but also contains information for college students. Do Public School Students Have Free Speech Rights under the First Amendment? Absolutely. But I'm a Private School Student — What About Me? You also have First Amendment rights, but those rights only protect you from government censorship, not private censorship. Also keep in mind that even though your private school may have the right to enforce a stupid rule, that doesn't make it any less stupid. Can Public Schools Censor or Punish Students' On-Campus Speech? Yes, whether you're a minor or an adult, in high school or in college. Can Public High School Administrators Censor What I Say in a School-Hosted Blog or Other School-Sponsored Publication? Usually, but it depends on the facts. The Hazelwood standard is less protective of your rights than the Tinker test. Joyner v. Yes. Yes.
Music Communities Below is a list of exemplary music communities that utilize our tools, typically by enabling users to upload content under one of our free licenses. If there is a community we are missing, please add it to our wiki as this page is periodically updated. For more information, see our related page on Creative Commons Record Labels. SoundCloud Berlin, Germany Soundcloud is a music sharing community that allows artists to upload its works under the full suite of CC licenses. Free Music Archive Jersey City, NJ The Free Music Archive is a project from WFMU that focuses on aggregating and curating high quality, freely licensed content – the majority of which is CC-licensed. ccMixter San Francisco/San Diego, CA ccMixter is an online remix community focused on enabling derivative musical works on a large scale. Indaba Music New York City, NY Indaba Music is a hub for online collaboration between musicians. Bandcamp Jamendo OpSound Tribe of Noise Airborne restorm
Campaigning for Fair Use: Public Service Announcements on Copyright Awareness ReadWriteThink couldn't publish all of this great content without literacy experts to write and review for us. If you've got lessons plans, activities, or other ideas you'd like to contribute, we'd love to hear from you. More Find the latest in professional publications, learn new techniques and strategies, and find out how you can connect with other literacy professionals. More Teacher Resources by Grade Your students can save their work with Student Interactives. More Home › Classroom Resources › Lesson Plans Lesson Plan Overview Featured Resources From Theory to Practice Who owns what you compose? back to top Persuasion Map: Use this online tool to map out and print your persuasive argument. In her description of a student-centered program to address issues of copyright in her school, Barbara Giorgio explains, "The key factor in the success of Marple Newtown's Committee for Academic Integrity is ownership of the process by students. Further Reading
As Children’s Freedom Has Declined, So Has Their Creativity If anything makes Americans stand tall internationally it is creativity . “American ingenuity” is admired everywhere. We are not the richest country (at least not as measured by smallest percentage in poverty), nor the healthiest (far from it), nor the country whose kids score highest on standardized tests (despite our politicians’ misguided intentions to get us there), but we are the most inventive country. It is sobering, therefore, to read Kyung Hee Kim’s recent research report documenting a continuous decline in creativity among American schoolchildren over the last two or three decades.[2] Kim, who is a professor of education at the College of William and Mary, analyzed scores on a battery of measures of creativity—called the Torrance Tests of Creative Thinking (TTCT)—collected from normative samples of schoolchildren in kindergarten through twelfth grade over several decades. You might wonder how creativity can be assessed. Well, surprise, surprise. [2] Kyung Hee Kim (2011).
"Social Awareness" To Replace Social Networking The Internet of Things is fast approaching and with it comes Web 3.0, where "social awareness" will replace "social networking." Soon tweets and status updates will become fully automated and generated by the world around us versus us ever having to touch a keyboard again. Ambient intelligence systems are being developed with sensors and smart objects that will instantaneously create awareness about our whereabouts. Achilles KameasAchilles Kameas, a senior researcher at the Research Academic Computer Technology Institute (raCTI) of Patras, Greece coordinated the EU-funded ASTRA project which brought together researchers from multiple disciplines, including psychology, interaction design, knowledge engineering and computer science. Internet of ThingsIn my past blogs, I have written about the Internet of Things and Semantic This video gives you a glimpse of the future which is just around the corner. In an ITC Results report, Kameas notes, “it’s like a window. See you on the other side!
Teaching Copyright in the Age of Computers and Mashups I wish I could say that teaching students about copyright is easy, because in a world where digital tools are making creating and sharing content easier than ever, understanding copyright is incredibly important. But intellectual property law is exceedingly complex, making even a nominal introduction to the ideas surrounding copyright -- copyright law, fair use, the public domain -- a challenge. Google tried its hand earlier this year, launching YouTube Copyright School, an effort to educate the video-sharing site's users about intellectual property law. Of course, YouTube has long had to battle complaints and lawsuits -- most often from record labels and film studios -- that the video-sharing site is awash in copyright infringements. Copyright School involves watching a 4-minute animation from Happy Tree Friends, then answering a series of multiple choice questions. But the popularity of Happy Tree Friends aside, 4 minutes is hardly long enough to teach the intricacies of copyright.
Copyright Law: From Digital Reprints to Downloads ReadWriteThink couldn't publish all of this great content without literacy experts to write and review for us. If you've got lessons plans, activities, or other ideas you'd like to contribute, we'd love to hear from you. More Find the latest in professional publications, learn new techniques and strategies, and find out how you can connect with other literacy professionals. More Teacher Resources by Grade Your students can save their work with Student Interactives. More Home › Classroom Resources › Lesson Plans Lesson Plan Overview Featured Resources From Theory to Practice Looking at how and why copyright law has changed over time can help students better understand recent and current copyright disputes and the many perspectives involved in these ownership issues. This lesson plan was developed as part of a collaborative professional project with the American Library Association Office for Information Technology Policy and the American Association of School Librarians (AASL). back to top The U.S.
Evidence: The Case of the Common Core Standards I have admired Rodin’s statue of “The Thinker” for many years. Yet the statue is not a man of action. Too much thinking, too little action is a recipe for fecklessness. Yet too much action, too little thought are ingredients for a potential disaster.* And this is where the Common Core standards enter the picture. Exactly how much evidence did policymakers have to justify the crafting and adoption of national standards? There have been two major justifications for Common Core standards: (1) raising academic standards across U.S. schools will grow the economy and make the nation globally competitive; (2) higher standards will improve students’ academic achievement. 1. Answer: None. See here and here. 2. See here, here and even here. So how can a public policy that has heavy consequences for students, teachers, and public schools have an appalling lack of evidence? The answer is in what top decision-makers consider as evidence when they determine policy.
10 Must-Haves for Your Social Media Policy Sharlyn Lauby is the president of Internal Talent Management (ITM) which specializes in employee training and human resources consulting. She authors a blog at hrbartender.com. A few weeks ago, I wrote that your organization should have a social media policy, and one of the things I heard among all the great comments was: "Okay, but what should it say?" There are generally two approaches to social media policy making. Other organizations, meanwhile, feel more comfortable establishing a clear policy from the outset. Whether you're writing your social media policy from the get-go, or letting it develop organically in reaction to situations as they arise, here are 10 things you should definitely consider. 1. All policies need to address what's in it for the reader/user — what should the reader take away after reading the policy? But that’s the spirit of social media — it’s all about leveraging the positive. 2. 3. Include your name and, when appropriate, your company name and your title. 4.
Music Rights Australia - Copyright FAQs What is copyright? Who owns the copyright in a piece of music? How do I know if a recording is still protected by copyright? Can I copy and distribute music even if I'm not making money out of it? What if I download music from a site from a different country than the one I'm in, where the law might be different? How do I know if the website I am using is legitimate? What are the penalties for breaching copyright? What is copyright? Copyright protects the expression of an idea by conferring exclusive rights on the owner; it encourages people to 'create'. In Australia, there is no need for copyright registration, nor is there a legal requirement to put a copyright notice on a piece of work. Who owns the copyright in a piece of music? In any given musical track, there is usually more than one copyright owner: The composer who wrote the music owns copyright in the musical works. Finally, the maker of the recording (typically a record company) owns copyright in the sound recording.