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POWERPOINT VIRTUAL MUSEUM - CURATED RESOURCE 4

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POWERPOINT VIRTUAL MUSEUM - CURATED RESOURCE 4

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A virtual museum was not something that I was familiar with when I started this unit, however after spending time investigating the resource, my mind was racing with different ideas and ways that I could use it in the classroom to transform learning for students. Students being able to create a unique, customisable and shareable digital representation of their research and conclusions provides opportunity for student led learning in which they can choose their own path and incorporate resources from a range of online platforms. This resource is extremely useful for integrating high-end pedagogy and redefinition of tasks in alignment with the SAMR model, as it creates a learning experience that would not be possible if not for the use of the tool. It changes the way that students view assessments and classroom activities that are paper based and rooted in lecture style learning to allowing them to become curious and engaged. Students are creating a resource all of their own rather than just simply a reproduction of learning that is typical of essays and quizzes. I can see this tool as being used collaboratively as well, as students can work together to create it and incorporate each individual students style and interests through the content covered as well as the design features. I plan to use this resource as part of a collaborative summative assessment that will redefine the assessment task, support student led learning and align with the General Capabilities for ICT's and the needs of students. Students will present their findings from research in the virtual museum, making use of rooms for different topics as well as integrating information from a range of other digital platforms and resources. They will then share their museum with other students for feedback and discussion to reflect on the learning experience.

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Microsoft PowerPoint Slide Presentation Software | Microsoft 365

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Microsoft PowerPoint empowers you to create clean slideshow presentations and intricate pitch decks and gives you a powerful presentation maker to tell your story.

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Zoom is a digital resource that I am very familiar with, and I am sure after the recent pandemic, most of the world is too. This tool is great for engaging with people in different parts of the world as well as those in the same area. It creates an easily accessible face to face interaction for people which can be used for meetings, lectures, presentations and interviews. These uses were familiar to me, however when brainstorming how it could be used for redefinition of learning and to support high end pedagogies, I thought that using it to create virtual podcast sessions would be creative and interesting. Students can make contact and collaborate with people outside of the school to support their learning in particular subject areas and topics. I thought that having students meet with a person of interest and create a podcast would be an extremely interesting and creative way to support their learning, and doing it digitally aligns with the ICT General Capabilities as well as the needs of learners in digitally advanced times, particularly with the recent pandemic and social distancing. The redefinition of the task stands out as Zoom allows for recording of sessions, which students will then share with their peers to enhance learning and provide real world contexts to the topic. Students can then discuss the podcast and share thoughts and opinions to reflect on the experience digitally. I plan to use this resource in the way described above in the classroom to create curiosity and excitement and provide the students with a high end digital pedagogies learning experience.

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Modernize workflows with Zoom's trusted collaboration tools: including video meetings, team chat, VoIP phone, webinars, whiteboard, contact center, and events.

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Padlet is a resource that I was not familiar with before this unit. However I have thoroughly enjoyed working with it and can see many connections to high-end digital pedagogies. Students can have the opportunity to create a digital site and collect relevant information all in one convenient place. Expanding on the usefulness of Padlet, they can also access the site of other students, share and comment on the posts in order to create a collaborative learning space, share and evaluate resources. I plan to use this resource in the classroom to redefine the typical pencil and paper notetaking or favorites bar in the internet browser. These methods do not allow for a quality, easily navigated and shareable collation of resources, which can hinder on student learning and efficiency in research. Padlet allows the students to categorize their information and refer back to it quickly and easily, leaving notes and titles to identify the key parts of the resource that are relevant to their learning. Redefinition of learning in alignment with the SAMR model is evident particularly through the use of Padlet to share the resources, collaborate with others and engage in discussions that are all recorded online for revisiting. I plan to use Padlet in my unit to promote the above discussed uses to enhance their experience, address the ICT General Capabilities and allow for student centered learning with consideration of differing student interests and learning styles. Students can choose from a range of customizable layouts, colors and themes for their Padlet to truly make it their own, and can select digital resources to include that interest them and relate to their learning needs.

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Blogs are a digital resource that I was familiar with prior to this unit. However I had never considered the ways that they could become part of student learning experiences. Blogger allows students to create a collection of their learning experiences and notes on content covered in learning, including images, videos and links to external resouces, which can then be shared with others, commented on and revisited easily to use for creation of assessment or completion of activities. The collaborative aspects of Blogger align with the high-end digital pedagogies shown in the SAMR model, and redefine the task of collecting notes and resources for assessments in books or on a Word Document. Blogger provides students with opportunities to express their interests and incorporate resources and notetaking styles that suit their learning needs and preferences, allowing them to choose their own adventure. Students are also able to engage with the blogs of others to draw inspiration and discuss learning activities, resources and group assessment tasks. I plan to use blogger in my unit as a collaborative redefinition of learning whereby students make different blog posts for different lessons, share their research, explore and include links to relevant digital platforms and resources such as websites, videos and presentations. This incorporation aligns with the ICT General Capabilities as students create, communicate, manage and operate the ICT resource. It also aligns with their needs as twenty first century learners, living in a highly digital society that regularly engages with digital platforms and tools such as Blogger.

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Blogger.com - Create a unique and beautiful blog easily.

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Publish your passions your way. Whether you’d like to share your knowledge, experiences or the latest news, create a unique and beautiful blog.

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Robin Collins on Higher Order Thinking & Bloom's Taxonomy 

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Robin Collins on Higher Order Thinking & Bloom's Taxonomy 

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This article originally appeared in the ISQ Briefings, a publication of Independent Schools Queensland. Republished with permission.

It is hard to imagine a teacher or school leader who is not aware of the importance of teaching higher-order thinking skills to prepare young men and women to live in the 21st Century. However, the extent to which higher-order thinking skills are taught and assessed continues to be an area of debate, with many teachers and employers expressing concern that young people 'cannot think'.

What are we talking about when we talk about 'higher-order thinking'? Brookhart (2010) identifies definitions of higher-order thinking as falling into three categories: (1) those that define higher-order thinking in terms of transfer, (2) those that define it in terms of critical thinking, and (3) those that define it in terms of problem solving.

In the category of transfer, Anderson, Krathwohl et al (2001) define transfer in how it differs from retention: Two of the most important educational goals are to promote retention and to promote transfer (which, when it occurs, indicates meaningful learning) ... retention requires that students remember what they have learned, whereas transfer requires students not only to remember but also to make sense of and be able to use what they have learned.

While learning for recall requires thinking, the higher-order thinking is in 'transfer'. That is, students not only acquire the knowledge and skills, but also can apply them to new situations. It is this kind of thinking, according to Brookhart (2010) that applies to life outside of school where thinking is characterised by 'a series of transfer opportunities (rather) than as a series of recall assignments to be done'.

The critical thinking category includes definitions that refer to 'reasonable, reflective thinking that is focused on deciding what to believe or do' (Norris & Ennis, 1989) and 'artful thinking', which includes reasoning, questioning and investigating, observing and describing, comparing and connecting, finding complexity, and exploring viewpoints (Barahal, 2008).

In critical thinking, being able 'to think' means students can apply wise judgment or produce a reasoned critique. The goal of teaching is then to equip students to be wise by guiding them towards how to make sound decisions and exercise reasoned judgment. The skills students need to be taught to do this include: the ability to judge the credibility of a source; identify assumptions, generalisation and bias; identify connotation in language use; understand the purpose of a written or spoken text; identify the audience; and to make critical judgments about the relative effectiveness of various strategies used to meet the purpose of the text.

In the problem-solving category Brookhart provides the following definition: A student incurs a problem when the student wants to reach a specific outcome or goal but does not automatically recognize the proper path or solution to use to reach it. The problem to solve is how to reach the desired goal. Because a student cannot automatically recognize the proper way to reach the desired goal, she must use one or more higher-order thinking processes. These thinking processes are called problem solving (Nitko & Brookhart, 2007). They may include remembering information, learning with understanding, critically evaluating ideas, formulating creative alternatives, and communicating effectively.

The broad definition of problem solving is that it is the skill that enables a person to find a solution for a problem that cannot be solved simply by memorising (ibid). While there are many closed problems-in maths for example-that require students to use memory to repeatedly practice a particular algorithm, many problems are open-ended and cannot be solved from memory alone. Or they may have more than one solution. Or they may be genuine problems where an answer is not yet known. Problems may also be open-ended in that solutions change as circumstances change. For example, living within a budget is an open-ended problem.

Bransford and Stein (1984) point out that problem solving is the general mechanism behind all thinking, including recall, critical thinking, creative thinking, and effective communication. They assert that to recall something, students have to identify it as a problem ("I need to memorise the planets, a poem, a list of capital cities. How can I do that?") and devise a solution that works for them. Similarly, critical thinking is a matter of problem solving-how well does Shakespeare develop this character?-and communication also involves problem solving-who is my audience? How do I need to best communicate with them? What words might I use to persuade?

Project Zero developed at Harvard University, provides an example of how teachers might help students to think by viewing works of art, using an 'Artful Thinking Palette' (Barahal, 2008). Students were asked to use six thinking dispositions to view art: exploring viewpoints, reasoning, questioning and investigating, observing and describing, comparing and connecting, and finding complexity. Teaching students these thinking skills is not only useful in art but in other disciplines, and in preparation for standardised tests such as the Queensland Core Skills Test.

Brookhart (2010) argues that if teachers think of higher-order thinking as problem solving they can set lesson goals to teach students how to identify and solve problems at school and in life. This, she says, involves not just solving problems set by the teacher but solving new problems that 'they define themselves, creating something new as the solution'.

How do we teach higher-order thinking?

While Bloom's Taxonomy is not the only framework for teaching thinking, it is the most widely used, and subsequent frameworks tend to be closely linked to Bloom's work. A committee under the leadership of Dr Benjamin Bloom created the Taxonomy in 1956. Bloom's aim was to promote higher forms of thinking in education, such as analysing and evaluating, rather than just teaching students to remember facts (rote learning). Learning was divided into three domains of educational activity:

Cognitive: mental skills (Knowledge)

Affective: growth in feelings or emotional areas (Attitude or self)

Psychomotor: manual or physical skills (Skills)

While all three domains are important for a 'rounded' person, it is the first domain (Cognitive) that is the subject of this paper. The cognitive domain involves 'knowledge and the development of intellectual skills' (Bloom, 1956). The abilities and skills within the domain are listed in six major categories starting from the simplest thinking behaviour to the most complex (see Table 1). It is generally accepted that each behaviour needs to be mastered before the next one can take place. This is useful knowledge in assisting teachers in their lesson planning.

In the mid-nineties, Lorin Anderson (2000), along with her colleagues, revisited the cognitive domain in the learning taxonomy and made two major changes. She changed the six categories from nouns to verbs; and slightly rearranged them so they became:

Using the Taxonomy, teachers have a framework available to them that allows them to scaffold teaching thinking skills in a structured way. Teachers can do this through the following stages.

1. Specifically teaching the language and concepts of higher-order thinking

Teachers should not only teach the language and concepts but also tell students what they are doing and why higher-order thinking skills are necessary for them to problem-solve at school and in life. For example, by using a common language, students can recognise the skill they are exercising and the level of complexity of a question. When they see words like 'define', 'recognise', 'recall', 'identify', 'label', 'understand', 'examine', or 'collect', they know they are being asked to recall facts and demonstrate their knowledge of content. When they see words like, 'apply', 'solve', 'experiment', 'show', or 'predict', they understand they are being asked to demonstrate application. And when a question begins with 'appraise', 'judge', 'criticise', or 'decide', they understand the higher-order thinking skill they are practising is 'evaluation'. Teachers also have an instant checklist of whether or not the level of work they require from students is of sufficient complexity. Students should begin to practice higher-order thinking skills from primary school, but by the time they reach year 11 and 12 the bulk of class and assessment questions and discussion should be in the higher levels of the taxonomy.

2. Planning classroom questioning and discussion time to tap into particular higher-order thinking skills

The important word here is 'plan'. Teachers, on the whole, are very good at 'thinking on their feet'; however, without meticulous planning they are likely to ask recall questions rather than questions that require higher-order thinking. Similarly, discussions can be de-railed if they are not planned with a higher-order thinking learning objective in mind. While this does not mean every question or discussion has to be pitched at higher-order thinking, a good proportion should be. By carefully planning lessons and discussions, teachers can ensure the proportion is right. It is useful to ask a colleague to observe a class with a view to recording the percentage of higher-order thinking skills practiced in a lesson; or even to ask students to use the knowledge they have gained in learning the language of thinking to record the teacher's use of higher-order terms; or to observe and assess their classmates in planned activities. Teachers should also encourage students to reflect on their learning so they understand their thinking strengths and weaknesses.

3. Explicitly teaching subject concepts

The research is overwhelmingly in favour of explicit, direct instruction (Hattie, 2005; Marzano, 2011). This is particularly so in the teaching of concepts. Students need to understand the critical features that define what higher-order thinking skills they are practising. Once again, Bloom's Taxonomy (or the Core Skills of the Queensland curriculum) is a useful place to start. In any subject area, students should be aware of the key concepts they must learn. They must be able to identify them and they must practice them. Teachers can help by alerting students when a key concept is being introduced, and identifying the explicit characteristics of the concept. Students need to understand whether the concept is concrete, abstract, verbal, nonverbal, or process.

For example, often students who perform poorly in mathematics have difficulty with nonverbal concepts. Simply working problems again and again with no verbal explanation will do little to help these students to understand maths concepts. Teachers have to spend time helping students to make strong connections between the manipulation of the symbols, the associated language and some form of concrete materials and images. By working through problems with students and verbalising the appropriate language, students begin to understand mathematical procedures.

Conversely, students who have difficulty with verbal concept formation need multiple examples with relatively less language, which may confuse them. That is, some students need to be shown how to solve a problem, some students told, and some need both.

In countries where attainment in maths is particularly high, it seems teachers ensure students have mastered basic concepts before proceeding to more sophisticated ones. Where students do not master basic concepts they are likely to attempt to memorise rather than to understand. While this works for them in the early years, it leads to misunderstanding and the inability to apply knowledge in the later years of schooling. It is also possibly the reason why many students 'turn off' maths.

Thomas and Thorne (2009) suggest a multi-step process for teaching and learning concepts, which includes:
1. name the critical (main) features of the concept
2. name some additional features of the concept
3. compare the new to the already known
4. name some false features of the concept
5. give the best examples or prototypes of the concept (what it is)
6. give some non-examples or non-prototypes (what the concept isn't)
7. identify other similar or connected concepts.

4. Providing scaffolding

Scaffolding involves giving students support at the beginning of a lesson and then gradually turning over responsibility to the students to operate on their own (Slavin, 1995). Without this limited temporary support students are unlikely to develop higher-order thinking skills; however too much scaffolding can be as detrimental as not enough. Kauchan and Eggen (1998) suggest teachers should provide 'only enough support so that learners make progress on their own'. Too much or too little support can interfere with the development of higher-order thinking skills. Too little support, and students are left floundering; provide support even though students don't ask for it, and they get the message they cannot do the task on their own.

Kauchan and Eggins (1998), propose the following guidelines:

1. Use scaffolding:

During initial learning, with a variety of examples to describe the thinking processes involved

Only when needed, by first checking for understanding and, if necessary, providing additional examples and explanations

To build on student strengths and accommodate weaknesses.

2. Provide structured representations and discussions of thinking tasks:

Visually represent and organise problems in concrete examples such as drawings, graphs, hierarchies, or tables

Demonstrate how to break up a thought problem into convenient steps, using a number of examples and encouraging students to suggest additional examples

Discuss examples of problems and solutions, explaining the nature of problems in detail and relating the worked-out solutions to the problems. This practice reduces the student's need for additional teacher assistance.

3. Provide opportunities for practice in solving problems

Provide teacher-directed practice before independent practice, spot-checking progress on practice and providing short responses of less than 30 seconds to any single request for assistance

Assign frequent, short homework assignments that are logical extensions of classroom work

Link practice in the content area to complex, real-life situations.

5. Consciously teach to encourage higher order thinking

In order to foster deep conceptual understanding, consider using the following strategies:

Teach skills through real-world contexts

Vary the context in which student use a newly taught skill

Emphasise the building blocks of higher-order thinking

Build background knowledge

Classify things in categories

Arrange items along dimensions

Make hypotheses

Draw inferences

Analyse things into their components

Solve problems

Encourage students to think about the thinking strategies they are using (more details available online: http://theonlinepd.files.wordpress.com/2008/03/teachinghigherorderthinking.pdf).

Using assignments and assessments that require intellectual work and critical thinking is associated with increased student achievement. These increases have been shown on a variety of achievement outcomes, including standardised test scores, classroom grades, and research instruments. The increases have been demonstrated in reading, mathematics, science, and social studies. And they have been documented particularly for low-achieving students. Evidence from both the National Assessment of Educational Progress (NAEP) and the Trends in International Mathematics and Science Study (TIMSS) report clear evidence that in mathematics and science instruction emphasising reasoning is associated with higher scores in all grade levels tested, while in reading, teaching for meaning (including thinking about main ideas, author's purpose, theme, and using real texts) is associated with higher NAEP performance, Wenglinsky (2004).

Higgins et al (2005), for example, did a meta-analysis of studies of thinking-skills interventions on student cognition, achievement, and attitudes. He and his colleagues found 29 studies, mostly from the United States and the United Kingdom that reported enough data to calculate effect sizes. They found very strong effects. The average effect of thinking-skills instruction was:

0.62 on cognitive outcomes (for example, verbal and nonverbal reasoning tests), over 29 studies.

0.62 on achievement of curricular outcomes (for example, reading, maths, or science tests), over 19 studies.

1.44 on affective outcomes (attitudes and motivation), over 6 studies.

Assessing higher-order thinking skills has also been shown to assist disadvantaged students. The 'Higher Order Thinking Skills' (HOTS) program designed by Pogrow (2005) specifically for educationally disadvantaged students, is based on four kinds of thinking skills: (1) metacognition, or the ability to think about thinking; (2) making inferences; (3) transfer, or generalising ideas across contexts; and (4) synthesising information. The project is a pure thinking skills approach to assist disadvantaged students in grades 4-8 in the United States. It combines the use of Socratic dialogue, drama, and technology, and has been used in approximately 2,600 schools in 48 states. It produced student gains in standardised tests, on measures of metacognition, in writing, in problem solving, and in grade point average.

Furthermore, Pogrow found that in studies contrasting the efficacy of teaching higher-order thinking skills with teaching enhanced content instruction, the former was much better at setting up students to be flexible, allowing them to 'understand understanding' and to handle a variety of content.

Finally, research has shown that student motivation increases when teachers hold them accountable for higher-order thinking. This seems to be so, because teaching students higher-order thinking tasks forces them to engage in thinking about particular things, and undertaking assessment that requires intellectual work and critical thinking. Memorising, while it is useful in some cases, does not increase students' autonomy and, to a large extent, does not contribute to mastery, although it might be argued that knowing basic facts is essential in providing building blocks for understanding. Also, it should be noted that 'knowing things' for immediate recall is a relatively unimportant skill. In most things we do, it is not the facts that are important but how we apply knowledge. For example, knowing the times table is useful to save time, to help in estimating and because rote learning builds useful pathways in the brain, but it is only when we use our knowledge of tables to manage our finances, plan a budget, or make decisions about whether one item is more expensive than another, that we exercise problem solving and higher-order thinking.

Therefore, in order to assess so that students can demonstrate mastery, teachers need to plan assessment items that allow students to use all the skills of the Taxonomy: analysis, evaluation, and creation (the "top end" of Bloom's Taxonomy); logical reasoning; judgment and critical thinking; problem solving; and creativity and creative thinking.

There are countless resources online and on paper to assist in the teaching of higher-order thinking, and while these are useful, an effective teacher needs to make few changes to programs already in place in order to ensure that students are encouraged to think. The research suggests that constant awareness of the language teachers use, and reflection on how the skills might be incorporated in every lesson, are pivotal in making the difference.

Bibliography

Anderson, L., Krathwohl, D., Airasian, P. et al (2001), A Taxonomy for Learning, Teaching, and Assessing: A revision of Bloom's Taxonomy of Educational Objectives, New York: Pearson, Allyn & Bacon
Barahal, S. (2008), Thinking about Thinking: Pre- Service Teachers Strengthen their Thinking Artfully, Phi Delta Kappan 90 (4)
Bloom B. S. (1956), Taxonomy of Educational Objectives, Handbook I: The Cognitive Domain, New York: David McKay Co Inc.
Bransford, J., & Stein, B. (1984), The IDEAL Problem Solver, New York: W. H. Freeman
Brookhart, S. (2010), How to Assess Higher Order Thinking Skills in Your Classroom, ASCD, http://www.ascd.org/Publications/Books/Overview/How-to-Assess-Higher-Order-Thinking-Skills-in-Your-Classroom.aspx
Hattie, J. (2009), Visible Learning: a Synthesis of Over 800 Meta-Analyses Relating to Achievement, Oxon, OX: Routledge
Higgins, S., Hall, E., Baumfield V. & Moseley D. (2005), A Meta-Analysis of the Impact of the Implementation of Thinking Skills Approaches on Pupils, in Research in Education Library, London: EPPI-Centre, Social Science Research
Kauchak, D., & Eggen, P. (1998), Learning and Teaching: Research-based Methods (3rd ed.), Boston: Allyn and Bacon
Marso, R., Pigge, F. (1992), A Summary of Published Research: Classroom Teachers' Knowledge and Skills Related to the Development and Use of Teacher-Made Tests, paper presented at the annual conference of the Midwestern Educational Research Association, Chicago, IL
Marzano, R. (2011), The Art & Science of Teaching/ The Perils and Promises of Discovery Learning, Educational Leadership, Volume 69, Number 1
Nitko, A. & Brookhart, S. (2007), Educational Assessment of Students, Pearson Merrill Prentice Hall
Norris, S. & Ennis, R. (1989), Evaluating Critical Thinking, Pacific Grove, CA: Midwest Publications
Pogrow, S. (2005), HOTS Revisited: A Thinking Development Approach to Reducing the Learning Gap After Grade 3, Phi Delta Kappan
Slavin, R. (1995), A Model of Effective Instruction, The Educational Forum, 59
Thomas, A., and Thorne, G. (2009), How to Increase Higher Order Thinking, Metarie, LA: Center for Development and Learning, http://www.readingrockets.org/article/34655
Wenglinsky, H. (2004), Closing the Racial Achievement Gap: The Role of Reforming Instructional Practices, Education Policy Analysis Archives, 12 (64)

Further Reading
Brookhart, S. (2010), How to Assess Higher Order Thinking Skills in Your Classroom, ASCD, http://www.ascd.org/Publications/Books/Overview/How-to-Assess-Higher-Order-Thinking-Skills-in-Your-Classroom.aspx
Teacher and author Susan M. Brookhart answers the questions: What does higher-order thinking look like? And how can teachers assess it across the disciplines?

Brookhart begins by laying out principles for assessment in general and for assessment of higher-order thinking in particular. She then defines and describes aspects of higher-order thinking according to the categories established in leading taxonomies, giving specific guidance on how to assess students in the following areas:

Analysis, evaluation and creation

Logic and reasoning

Judgment

Problem solving

Creativity and creative thinking

The book covers how to use formative assessment to improve student work and then use summative assessment for grading or scoring.

http://theonlinepd.files.wordpress.com/2008/03/teachinghigherorderthinking.pdf

This site provides excellent information about why we should teach higher-order thinking skills and how to teach them.

Research in Action:

http://www.ascd.org/Publications/Books/Overview/How-to-Assess-Higher-Order-Thinking-Skills-in-Your-Classroom.aspx

This site includes a series of four short videos in which Dr Susan Brookhart describes, with examples, how best to assess higher order thinking skills in your classroom. The videos include: why higher order thinking is important, principles for designing assessment, assessing reasoning and assessing creativity. While the author regularly promotes her book in these videos, the contents of the videos are useful and worthwhile as simple and succinct summaries for teachers considering how to assess their students.

http://www.readingrockets.org/article/34655

Included on this site are specific conversations with students to test their thinking; examples of how to increase higher-order thinking; comments about evaluation; and recommended resources.

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Curriculum & Leadership Journal | Skills for the 21st Century: teaching higher-order thinking

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This article originally appeared in the ISQ Briefings, a publication of Independent Schools Queensland . Republished with permission. It is hard to imagine a teacher or school leader who is not aware of the importance of teaching higher-order thinking skills to prepare young men and women to live in the 21st Century.

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There is no single best or correct way of attribution, as long as your attribution is reasonable and suited to the medium you're working with. That being said, please include attribution somehow, even if it's a link to an About page that has the relevant info. (More on different media below.)

Devil in the details

If you have any doubts or questions, you can read the complete attribution requirements which are spelled out in detail in the legal code of every CC license, eg. http://creativecommons.org/licenses/by/4.0/legalcode#s3a. This chart compares the detailed requirements across all versions of CC licenses.

Examples of attribution

We will now look at some examples in different media.

Attributing an image

Here is a photo. Below the photo, we will go over some good and bad examples of how people might attribute it.

This is a great attribution
Let's go through TASL:

Title? "Creative Commons 10th Birthday Celebration San Francisco"

Author? "Timothy Vollmer" - linked to his profile page

Source? "Creative Commons 10th Birthday Celebration San Francisco" - linked to original Flickr page

License? "CC BY 4.0" - linked to license deed

Most importantly, this attribution reasonably includes all the relevant information provided by the author.

This is a pretty good attribution
Let's go through TASL:

Title? Title is not noted but at least the source is linked.

Author? "Timothy Vollmer"

Source? "Photo" - linked to original Flickr page

License? "CC BY" - linked to license deed

As you see, a good attribution includes all the essential TASL elements, even though they may not mirror the format of credit the author has requested.

This is an incorrect attribution

Let's go through TASL:

Title? Title of the image is not noted

Author? Author is not noted (It is a common mistake to attribute CC-licensed photos to CC, but Creative Commons is not the author!)

Source? No link to the original source

License? There is no mention of a license nor a link to the license. "Creative Commons" is the name of an organization; it does not equate to any of the licenses maintained by the Creative Commons.

This is a great attribution for an image you modified slightly

Here, information on Title, Author, Source, and L icense are all included as requested by the author. The slight modification is also noted and briefly described.

Note if the modification changes the work's meaning in a way that would be considered creative - that is, not a purely mechanical change or a simple crop/excerpt that keeps the original message undistorted, it would be considered creating a new adaptation of the original work. You cannot rely on a CC license that does not allow adaptation (e.g., CC BY-ND or CC BY-NC-ND) when making such modifications.

This is a great attribution for when you have created an adaptation
Let's go through TASL:
Original Title, Author, Source, and L icense are all noted.

The original work is referenced and the fact that it is an adaptation is also noted, so viewers can see what has changed.

The author and other attribution information for the new adapted work is also noted.

Note: If you're at a point where you are licensing works that are adaptations, go to Marking your work with a CC license.

Attributing music

When you incorporate music in an audio or video recording

Music (both the underlying composition and the sound recordings) - such as a song, or a recording of natural sounds - can be attributed within the audio/video, and in the description text of the audio/video. How to attribute a CC licensed music in an audio or video recording will largely depend on what is reasonable for a chosen medium and platform.

Caution: Licenses with "ND" do not allow for adaptations. Your use of CC-licensed music is often an adaptation!

It is considered adaptation if you incorporate CC-licensed music into your work in a way that the CC-licensed music can no longer be seen as a stand-alone piece. For example, if you are using a song as background music in a podcast or in a video, it is considered an adaptation of the song.

Keep in mind that CC BY-ND and CC BY-NC-ND do not allow adaptations (although you may be authorized by law to do so, such as under a users' right like fair use, or you may ask for the author's permission independent of the CC license).

This is a great attribution of background music in a podcast or a video

When reasonable to do so, we recommend that you include attribution both in the description box and in the podcast recording or the video recording itself.

If you are using the following song in a podcast: 'Day Bird' by Broke for Free ( brokeforfree.com), this would be a great way to provide attribution (which you can see in [ Creative Commons podcast]) -

At the end of the podcast audio recording, the host says:

Special thanks to the musician Broke for Free, whose track "Day Bird" you heard at the beginning of this episode and you are listening to right now. It's under the Creative Commons Attribution License, meaning it's free for anyone to use. You can find it at the Free Music Archive-freemusicarchive.org

In the description box, the information text reads:
Let's go through TASL:

Title? Both the recording and the description box include the title of the work, "Day Bird"

Author? "Broke for Free," again, noted both in the recording and in the description box

Source? Both the author's page and the archive's page are included with links

License? "CC BY 3.0" - linked to license deed

You cannot talk over, or remix, music licensed under CC BY-ND or CC BY-NC-ND.

This is a bad attribution of background music in a podcast or a video

A bad attribution is one where you do not provide enough information for a user to find the music you are using. The following is a bad attribution for the same song:

No attribution is included in the podcast recording or the video itself.

In the description box, it says: " Creative Commons music."
Let's go through TASL:

Title? Title is not noted

Author? Author is not noted

Source? Source is not noted; users cannot find the specific song used in the podcast

License? No information on the CC license

The attribution information is not sufficient for people to find the song you have re-used.

When you are not adding new elements to the music

When you re-use music without adding new elements to it, you are not making an adaptation. In that case, you can rely on any of the CC licenses, including CC BY-ND and CC BY-NC-ND. We recommend providing attribution information in writing.

On Wikipedia page, you can see an example of great attribution for the sharing another soundtrack, "Night Owl" by Broke for Free, when it's without adaptation.
Let's go through TASL:
T itle? Title of the work, "Night Owl," is noted

A uthor? "Broke for Free," noted and linked to the author's webpage

S ource? A link is provided for the source

L icense? "CC BY 3.0" - linked to license deed

Attributing text

Let's take You Don't Know JS Yet (2nd Edition) as an example, and go over what your attribution may look like if you reuse the book series. The information under the "License & Copyright" section looks like this on the webpage where the book series was originally shared:

We recommend that you retain all the information provided by the author of the book series when it is reasonable for you to do so. For example, if you are distributing digital copies or excerpts of the book series in a free seminar, or using parts of the book in a free online course or presentation, the attribution will likely look something like this:

On the other hand, if you are distributing hard copies of the book series or excerpts from the book series, instead of using hyperlinks, you may wish to include the links so it's easier for users to locate the original source of the book, the author, and the CC license:

Note that the CC BY-NC-ND license includes the NoDerivatives requirement, which indicates that no adaptations are allowed. You cannot make any adaptations relying on the CC BY-NC-CD license the author chose for the book. If you would like to make a translation of the book, for example, you will need to ask the author for permission first.

The CC BY-NC-ND license also includes the NonCommercial requirement. To learn more, take a look at page here.

Attributing materials from multiple sources
Let's go through TASL:

Title? Specific works are named, e.g., "Box-and-whisker Plots"

Author? Different authors noted for the different works

Source? Original materials are linked for each work

License? The different licenses (Creative Commons Attribution for Collaborative Statistics and Creative Commons Attribution-Noncommercial-ShareAlike for the Khan Academy video) are spelled out and linked for each work

Lastly, it is clear which attribution belongs to which work.

You can visit the Saylor.org Introduction to Statistics course page to see how they marked it up directly.

Publishing a web page for attribution

As stated above, recommended attribution depends on the medium you're working with. For media such as offline materials, video, audio, and images, consider publishing a web page with attribution information. For example, on a webpage featuring your audio recording, provide a credit list of material you used that adheres to best practices above. Doing so allows not only your material, but the materials you attribute, to be found by search engines and other web discovery tools. If possible within the medium, make the Author, Source, and License links the user can follow.

Attributing public domain materials

Although attribution is not a legal obligation under dedication's or Public Domain Mark 's licensing terms, we recommend that you consider providing attribution to the source for public domain materials when it is reasonable to do so. Attribution of public domain works not only encourages institutions to digitize and share more public domain materials in their physical collections, but also empowers users to easily locate the original source.

The following public domain image is digitized and hosted by the Rijksmuseum (the national museum of the Netherlands). The Rijksmuseum has applied a CC0 dedication to the image.

You may provide credit in the following format:

" Milkmaid " by Vermeer. The Rijksmuseum collection. The image is dedicated to the public domain under CC0.

In most cases, people credit the source regardless of the work's copyright status. Especially in an academic setting, providing source information about other people's works has long been considered crucial to academic integrity. Copyright cannot be the only checkbox when deciding whether a source will be attributed.

Common pitfalls

Below are some practices that you may wish to avoid. These practices are not always contrary to the Creative Commons licensing terms, but they often make it more challenging for users to find the original source and/or author.
Attribute in alt text
Alt text is intended to provide accessible information about visual materials for users with cognitive disabilities or visual impairment. Using this field for licensing information makes browsing difficult for those users.
Attribute in metadata fields only
While it is great to include attribution in metadata fields (such as EXIF for images), in most cases this is not the only place to include attribution information. This is because many users are likely not aware of, and will never see, attribution information included in metadata.
Credit authors by names other than the ones they have selected
Many people believe that attribution must be given to the real name of the author of a work, but this is not the case - always give attribution to the name the author has specified, even if it is a pseudonym. If the author does not give a name or explicitly requests to be anonymous, you must give the other attribution information (i.e., "T" and "SL" from "TASL") without crediting the author.
Credit a site (or Creative Commons itself!) instead of the author
Unless an author specifically requests users to only credit a site, crediting the site where you have found the material cannot substitute crediting the author. An author may have uploaded material to a site under a CC license, but in most cases, the copyright is still held by the author, and it is the copyright holder who needs to be credited. For example, many photos sourced from Wikimedia Commons are attributed to Wikimedia when they must be attributed to the authors.

Other guides to attribution

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You can use CC-licensed materials as long as you follow the license conditions. One condition of all CC licenses is attribution: crediting the author and giving the source information. Generally speaking, attribution must reasonably include all relevant information supplied by the licensor.

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1. 1. National Copyright Unit www.smartcopying.edu.au 1 Copyright for Educators 16 June 2022 Copyright for Educators - TAFE National Copyright Unit Alison Davis and Holly Cordell

2. 2. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au National Copyright Unit The Ministers' Copyright Advisory Group (CAG), through the NCU, is responsible for copyright policy and administration for the Australian school and TAFE sectors. This involves: ● managing the obligations under the educational copyright licences ● providing copyright advice to schools and TAFEs ● advocating for better copyright laws on the school and TAFE sectors' behalf ● educating the School and TAFE sectors regarding their copyright responsibilities. 2

3. 3. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Smartcopying website 3 www.smartcopying.edu.au * Practical and simple information sheets and FAQs * Interactive teaching resources on copyright * Smartcopying tips and information on Creative Commons and how to find Creative Commons licensed resources * Search the site for answers to your copyright questions

4. 4. National Copyright Unit www.smartcopying.edu.au 4

5. 5. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Slides * Slides available @ http://www.slideshare.net/nationalcopyrightunit/ * This work is licensed under a Creative Commons Attribution 4.0 International Licence (unless otherwise noted) http://creativecommons.org/licenses/by/4.0/. * Attribution: National Copyright Unit, Copyright Advisory Groups (Schools and TAFEs) 5

6. 6. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Outline 6 1. Copyright Basics 2. Statutory Text and Artistic Works Licence 3. Radio and TV Broadcasts 4. TAFE Music Licence 5. Education Exceptions 6. Commercial Activities and Seeking Permission 7. Open Educational Resources (OER) and Creative Commons (CC) 8. Workshop 9. Smartcopying Tips

7. 7. National Copyright Unit www.smartcopying.edu.au 7 Copyright for Educators 16 June 2022 Copyright Basics https://smartcopying.edu.au/guidelines/copyright-basics/

8. 8. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au What does copyright protect? https://smartcopying.edu.au/guidelines/copyright-basics/what-is-protected-by-copyright/ Artistic Literary Musical Dramatic ● paintings ● illustrations ● sculptures ● graphics ● cartoons ● photographs ● drawings ● maps ● diagrams ● buildings ● models of buildings ● online images ● novels ● textbooks ● newspaper and magazine articles ● short stories ● journals ● poems ● song lyrics ● instruction manuals ● computer software ● websites ● e-books ● melodies ● sheet music ● pop songs ● advertising jingles ● film score ● plays ● screenplays ● mime ● choreography 8

9. 9. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au What does copyright protect? Films Sound Recordings Broadcasts ● films ● video recordings ● DVDs ● television programs ● advertisements ● music videos ● online films and videos (eg YouTube, Vimeo, Apple TV, Google Play, Netflix, Stan, etc) ● digital recordings (eg MP3/MP4) ● Vinyl ● CD ● DVD ● audio cassette tapes ● digital music (eg Spotify, Sound Cloud, Apple Music, etc) ● radio ● television 9

10. 10. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au A copyright owner's rights 10 A copyright owner has the exclusive right to: 1. copy 2. perform 3. communicate to the public the copyright material. "Copyright graffiti" by opensourceway is licensed under CC BY-SA 2.0

11. 11. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Copying Activities Performance Activities Communication Activities ● scanning ● downloading ● printing ● saving to another device - USB, hard drive, mobile phone, tablet ● photocopying ● taking a digital photo/screenshot ● playing films and music ● singing songs ● playing instruments ● acting out a play ● reading a book or reciting a poem to a class ● display or project on an interactive whiteboard ● uploading to a digital teaching environment (DTE) or share drive ● emailing to students 11 https://smartcopying.edu.au/guidelines/copyright-basics/what-are-the-rights-of-a-copyright-owner/

12. 12. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Copyright basics FAQs 12 1. Copyright gives the copyright owner the right to exclusively do three activities. What are these? 2. Is playing a film to an audience a copyright activity? 3. Is displaying material on an interactive whiteboard a copyright activity?

13. 13. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Using material for teaching Statutory Licences Creative Commons Licensed Permission Own Material Education Exception 13 Can I use it? TAFE Music Licence

14. 14. National Copyright Unit www.smartcopying.edu.au 14 Copyright for Educators 16 June 2022 Statutory Text and Artistic Works Licence https://smartcopying.edu.au/guidelines/education-licences/the- statutory-text-and-artistic-works-licence/

15. 15. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au 15 TAFE institutes may: * copy and communicate text and artistic works for educational purposes * in both hardcopy and electronic form * provided the amount copied does not unreasonably prejudice the legitimate interests of the copyright owner. Statutory Text and Artistic Works Licence Books story (vector, Inkscape, poster) by MaryKosowska is licensed under CC BY-NC-ND 2. https://smartcopying.edu.au/guidelines/text-material/ https://smartcopying.edu.au/guidelines/artistic-works-and-images/

16. 16. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Statutory Text and Artistic Works Licence 16 This licence covers: * text works - books, newspapers, journal articles, song lyrics, plays, poems, websites * artistic works - paintings, maps, diagrams, photographs, animations in both hardcopy and electronic form. https://smartcopying.edu.au/guidelines/text-material/ https://smartcopying.edu.au/guidelines/artistic-works-and-images/

17. 17. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au What is a copy? 17 Making a copy includes: * photocopying * scanning * printing * taking a photograph * taking a digital photo/screenshot * downloading works from a webpage or cloud storage drive * saving a copy to a digital teaching environment (DTE), personal computer, USB drive or personal cloud storage service. Printer being used by person with paper and hand illustration by Brother UK is licensed under CC BY 2.0

18. 18. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au What is a communication? 18 A communication includes: * uploading material to a digital space for student access and use via password protected access such as: o a share drive/intranet (eg Microsoft 365) o learning management systems (eg Moodle, Blackboard, Brightspace or Equella) o to a closed class area on an education platform (eg Edmodo, Verso or Google Classroom) * emailing.

19. 19. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au How much of a text work can I copy and communicate? 19 Teachers can copy and communicate text works as long as the amount copied or communicated "does not unreasonably prejudice the legitimate interests" of the copyright owner. * Not a 'one size fits all' approach. * Flexibility - you can copy and communicate the amount you need, where to do so would cause no harm to the copyright owner. * The '10% or one chapter rule' is still a useful guide in making this assessment for many text resources that are still commercially available.

20. 20. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au When can I copy and communicate more of a text work? 20 You may be able to copy and communicate more of a text work (eg the whole work) if: * it is not commercially available within a reasonable time (eg 6 months for a textbook, 30 days for other material) at an ordinary commercial price * the use isn't replacing a sale (eg all students in the class have already purchased a copy) or * it is made freely available on the internet without any expectation of payment.

21. 21. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au How much of an artistic work can I copy and communicate? 21 Teachers can copy and communicate whole artistic works under the Statutory Text and Artistic Works Licence. "Geometrie Polygone Quadrate Dreiecke" is marked with CC0 1.0

22. 22. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au What can schools do under the Statutory Text and Artistic Works Licence? 22 Under the Statutory Text and Artistic Works Licence, teachers can: * download a learning resource from the internet * copy images to use in a teaching resource * photocopy a chapter of a manual to hand out in class * download maps from a website to hand out to students * copy a chapter of a textbook and upload it to a DTE for students to access * email a worksheet and PowerPoint to students.

23. 23. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Smartcopying tips 23 * Link or embed content instead of downloading or communicating - linking and embedding are not copyright activities. * Limit access to the minimum required number of students and staff. * Delete or archive (ie disable access) to the material once it is no longer needed.

24. 24. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Images from the internet 24 * Educational use of images from the internet are not free and are paid for under the Statutory Text and Artistic Works Licence. * Currently, the TAFE sector pays nearly $3 million each year under this licence. * Some recent examples of "freely available images" from the internet paid for under the Statutory Text and Artistic Works Licence include: o 'Fearful Face emoji' on dictionary.com o photographs from Wikipedia pages o photographs from Pinterest o a photo of the NRL grand final teams o a photograph of a bowl of chicken soup o a Google Images search result for Gozleme.

25. 25. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au How do I know if an image from the internet will attract a fee? 25 * All images from the internet used by TAFEs will attract remuneration under the Statutory Text and Artistic Works Licence unless: o it is a Creative Commons licensed image (see Where to find CC licensed images) o the copyright in the image has expired and is in the public domain (see How long does copyright last?) o the terms of use clearly allow for educational use (see Internet and Websites). https://smartcopying.edu.au/guidelines/text-material/

26. 26. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au What is not covered? 26 The Statutory Text and Artistic Works Licence doesn't permit: * mass digitisation of books * mass copying of e-books * copying of software * placing content online for anyone to access (eg on Facebook, YouTube, Instagram, etc).

27. 27. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au What if my intended use is not covered? 27 You may be able to: * obtain permission from the copyright owner * use the material in a different way (link to it, create your own content inspired by the original material) * rely on one of the education exceptions discussed later in this PowerPoint.

28. 28. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Labelling and attribution 28 You should always attribute any material you copy and communicate with as much of the following as possible: 1. the basis on which material was copied (eg "Copied under s 113P of the Copyright Act") 2. name of the author 3. title 4. publisher 5. edition or date of publication 6. ISBN or ISSN 7. URL. For example: Copied under s 113P of the Copyright Act [insert author, title, publisher, edition or date of publication, ISBN/ISSN or URL]

29. 29. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Notice requirements 29 Where practicable, it is best practice to include the following notice on material copied/communicated under the statutory licence: A practical way of including this notice is to insert a link to the notice from the attribution information: Copied/communicated under the statutory licence in s 113P of the Copyright Act [Author, Title, Date] [Link to warning notice] Warning This material has been copied [and communicated to you] in accordance with the statutory licence in section 113P of the Copyright Act. Any further reproduction or communication of this material by you may be the subject of copyright protection under the Act. Do not remove this notice. https://smartcopying.edu.au/guidelines/education-licences/section-113p-notice/

30. 30. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Statutory Text and Artistic Works Licence FAQs 30 1. Can I create a digital copy of a textbook by scanning the entire book and then uploading this to my TAFE's DTE? 2. Can I download a worksheet from the internet and use this resource in my classroom? 3. Can a teacher scan an article from a journal to use in their Health Science teaching resource? 4. Can I copy an image from Google Images into a PowerPoint presentation to show my class?

31. 31. National Copyright Unit www.smartcopying.edu.au 31 Copyright for Educators 16 June 2022 Radio and TV Broadcasts https://smartcopying.edu.au/guidelines/radio-and-television-broadcasts

32. 32. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Radio and TV broadcasts 32 * No TAFE institutes (other than WA) are covered by the Statutory Broadcast Licence * TAFEs (other than WA) elected not to be covered by the licence from 1 January 2016 * This means they cannot copy television or radio broadcasts or communicate copy broadcasts. * However, TAFE institutes can still rely on other exceptions in the Copyright Act to: o play live broadcasts o play or communicate purchased content (eg television programs, series, films, documentary programs) o play online television programs (eg from ABC iView, SBS On Demand or other catch up television services). https://smartcopying.edu.au/use-of-television-programs- and-film-by-tafe-institutes-without-a-statutory-broadcast- licence/

33. 33. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Statutory Broadcast Licence - TAFE WA 33 The Statutory Broadcast Licence only applies to TAFE WA. Covers the copying and communication of: * TV and radio broadcasts * scheduled broadcast content on subscription TV (eg Foxtel) * TV/radio from a broadcaster's website if it has been broadcast on free-to-air. * TAFEs obtain copies of TV or radio broadcasts from resource centres (eg ClickView) or by copying the broadcasts themselves. * Resource centres copy broadcasts 24/7 for TAFEs. TAFEs access these copy broadcasts through subscriptions to resource centres. https://smartcopying.edu.au/guidelines/education-licences/statutory-broadcast-licence/

34. 34. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Statutory Broadcast Licence - TAFE WA 34 * The copy broadcast can be in any format (eg DVD, MP4) and format shifted as needed * Can be played in class, copied and communicated * No copying limits * Where practical, label materials with the name of the program, the channel it was copied from and the date the copy was made, see S 113P Notice * Does not cover: * online programs from subscription TV/Radio broadcasters * on-demand content from subscription TV that has not been previously broadcast (Foxtel On Demand or Kayo Sports) * streaming services (Netflix, Stan) * See Statutory Broadcast Licence for more information.

35. 35. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Radio and TV Broadcasts FAQs 35 1. Can I copy a television program to play to my class? 2. If I'm not from WA, can I format shift a DVD copy of a TV program which was made when my institute had the Statutory Broadcast Licence so that I can upload it to show online to my class? 3. Can I play a TV program from ABC iView? 4. Can I purchase a TV program from Google Play and play it in class?

36. 36. National Copyright Unit www.smartcopying.edu.au 36 Copyright for Educators 16 June 2022 TAFE Music Licence https://smartcopying.edu.au/music-copyright-guide-for- tafes/

37. 37. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Using music in the TAFE Classroom 37 * When TAFEs play and perform music in the classroom, they may be able to rely on a copyright exception rather than the TAFE Music Licence. * If the TAFE is not able to rely on the exception (eg if family members are in attendance), it may be able to rely on the TAFE Music Licence. https://smartcopying.edu.au/music-copyright-guide-for- tafes/

38. 38. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Using music outside the TAFE classroom 38 All TAFEs (excluding Victoria) can now rely on the TAFE Music Licence with APRA AMCOS, ARIA and PPCA to perform musical works live (eg a live performance by a TAFE band) and use sound recordings in different ways outside the classroom environment. https://smartcopying.edu.au/music-copyright-guide-for-tafes/

39. 39. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Using music outside the TAFE classroom 39 For example, TAFEs can: * perform/play a musical work live at TAFE events (eg a TAFE band playing live at a TAFE Open Day) * play a sound recording at TAFE events (eg use recorded music in a TAFE fashion show) * play a sound recording as background music in TAFE businesses (eg TAFE training restaurants, fitness centres or cafes) * play a sound recording as background music in TAFE workplaces (eg staff rooms, TAFE offices) * incorporate a sound recording into another work (eg adding music to a PowerPoint presentation) to show at an event * record, communicate and live stream TAFE events at which a musical work is performed or sound recording played. https://smartcopying.edu.au/music-copyright-guide-for- tafes/

40. 40. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Using music outside the TAFE classroom 40 Recording your TAFE event TAFEs can: * record TAFE events that include the performance of a musical work live or a sound recording * authorise a third party (eg a professional videographer hired to film a TAFE fashion show or graduation ceremony) to make a recording of a TAFE event on its behalf. https://smartcopying.edu.au/music-copyright-guide-for-tafes/

41. 41. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Using music outside the TAFE classroom 41 What can I do with the recording of our TAFE event? TAFEs can use the recording of their TAFE event(s) in the following ways: * upload it to the TAFE website and/or DTE * upload it to educational apps being used for TAFE communications (eg Skillslocker) * email a digital copy to the TAFE community (students and parents) * provide a physical copy to the TAFE community (for example, on a USB device) * upload it to the TAFE's official social media page (although where a musical work or sound recording is played at the TAFE event the post may still be taken down). https://smartcopying.edu.au/music-copyright-guide-for- tafes/

42. 42. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Using music outside the TAFE classroom 42 Incorporating sound recordings into other works TAFEs can incorporate a sound recording into another unrelated work (eg add a backing track to a PowerPoint presentation or to a video of a graduation ceremony). TAFEs can then: * upload the recording to the TAFE website, password protected intranet or password protected DTE * email or provide a physical copy of the recording to students and their families * upload the recording to an educational app (for example 'SkillsLocker'). Note, however, the TAFE cannot upload this work to social media. https://smartcopying.edu.au/music-copyright-guide-for- tafes/

43. 43. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Using music outside the TAFE classroom 43 Live streaming your TAFE event TAFEs can live stream events, where a musical work is performed live and/or a sound recording is played, in real time from TAFE social media platforms (such as Facebook or YouTube). However, for live streams where a musical work or sound recording is being played on social media, it is still possible that the performance may be blocked or muted. https://smartcopying.edu.au/music-copyright-guide-for- tafes/

44. 44. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Creative Commons music (all TAFEs) 44 TAFEs in all jurisdictions can use CC musicals works and sound recordings free of charge provided you comply with the terms of the CC licence. There are several websites that license musical works and sound recordings under a CC licence, including: * SoundCloud - online sharing platform with option to filter search results for CC content * Vimeo - online community with option to search for CC content * CC Mixter - CC sound remix tool and archive * Magnatune - CC record label * Jamendo - CC music distribution site * Freesound - collaborative data base of CC licensed sounds. https://smartcopying.edu.au/music-copyright-guide-for- tafes/

45. 45. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Music FAQs 45 1. Can we play live music at a TAFE event (eg Open Day)? 2. Can we play background music at our TAFE operated restaurant? 3. Can we play pre-recorded music at a TAFE graduation ceremony? 4. Can we record a TAFE event and place the recording on our Facebook page?

46. 46. National Copyright Unit www.smartcopying.edu.au 46 Copyright for Educators 16 June 2022 Education Exceptions

47. 47. National Copyright Unit www.smartcopying.edu.au Copyright for Educators 16 June 2022 https://smartcopying.edu.au/performance-and-communication-of-copyright-material-in- tafe-classes/ Performing and Communicating Material in Class (s 28) 47

48. 48. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Performing and communicating copyright material in class (s 28) 48 * Section 28 allows TAFEs to perform and communicate material 'in class' (includes remote students). * A free exception - no fees are paid. * Does not permit copying - the 'show and tell' exception. * Must be for the purposes of educational instruction * Includes any type of material. * Must be restricted to staff and students who need material

49. 49. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Section 28 uses 49 * Reading a story, news article, journal, handbook or other literary work. * Performing a musical work in class * Playing: o television programs from free to air and pay television o radio programs from free to air radio and digital radio stations o television programs from streaming services (eg Netflix, Stan) o a film in any format (eg DVD or a film from Apple TV, Google Play, etc) o purchased material in any format (eg a film, audiobook, television program or series) o online television programs from catch up television (eg ABC iView, SBS on Demand, 7plus) o sound recordings in any format (eg CD, DVD, cassettes, digital music from Apple Music, Google Play). * Staging a performance of a play. * Displaying content from a live website on an interactive whiteboard.

50. 50. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au What is not covered? 50 Section 28 does not cover communicating or performing a work: * to the parents of students * at a TAFE event where there is no teaching involved (eg graduation, open day, fashion show, workplace such as a hair salon, etc) * for a fundraising activity. Open source film making with Todd Harris by opensource.com is licensed under CC BY-SA 2.0

51. 51. National Copyright Unit www.smartcopying.edu.au Copyright for Educators 16 June 2022 https://smartcopying.edu.au/flexible-dealing/ Flexible Dealing (s 200AB) 51

52. 52. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Flexible dealing (s 200AB) 52 * Teachers commonly rely on this exception to copy audio (eg Apple Music songs) and audio-visual content (eg YouTube videos). * Section 200AB is a flexible exception that can be used by TAFEs when no other exception or licence applies. * You must assess your proposed use on a case-by-case basis. * The NCU has guidelines to ensure your use falls under section 200AB.

53. 53. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Flexible dealing guidelines 53 Flexible dealing only applies if: 1. You cannot rely on any other licence or exception AND 2. You need the material for educational instruction AND * Educational instruction includes: o teaching o preparing to teach o compiling resources for student homework or research o doing anything else for the purpose of teaching. * You can't rely on this exception for 'just in case' copying. 3. Your use does not conflict with the normal exploitation of the material. * If you can buy the material in the format you need within a reasonable time, or obtain a licence for your proposed use on reasonable terms, then you must do so.

54. 54. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Flexible dealing guidelines 54 If you meet those criteria, you may be able to rely on the flexible dealing exception provided you: * ensure no further copies or downloads can be made - if you are uploading content to the TAFE DTE, make sure it is view only * limit access to the students/classes that need it for the specific instructional purpose - if you are uploading a film to the DTE for a Journalism class, only make it available to the students in that class * only use the amount of material that you need - if you only need to show students an extract of a film, you won't be able to rely on the flexible dealing exception to copy the entire film * only make the material available for the time needed for the course of study - if students need to access an excerpt of a documentary on the DTE for a course on digital media and technology, archive or disable access by students to the documentary once it is no longer needed by the students. You must not make a profit from anything you use under flexible dealing. Cost recovery is okay.

55. 55. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Common flexible dealing activities 55 Some examples of uses that may be permitted under the flexible dealing exception include: * format shifting audiovisual content from CD or DVD to digital for use on devices lacking CD- ROM drives when it is not possible to buy a digital version of the film or sound recording * making a digital copy of a DVD to upload to a TAFE's DTE in order to play to a landscaping class * compiling extracts of audio-visual material for use in class (eg making a compilation of short extracts of several films for a photography class) when it is not possible to buy a similar teaching resource.

56. 56. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au YouTube, Apple TV, Google Play and Netflix * YouTube, Apple TV, Google Play, Netflix, etc have standard terms and conditions that state content can only be used for 'personal, non-commercial' use. * You can stream this content in the classroom under section 28. In limited circumstances, you may be able to make a copy of this content under section 200AB. * BUT the terms and conditions of these websites may not strictly allow this, so you may be in breach of contractual terms. * It is unclear whether contractual terms override exceptions in the Copyright Act. * TAFEs can manage risk by only using content under the exceptions in the Copyright Act. Contact the NCU if you need additional advice. https://smartcopying.edu.au/guidelines/internet-and-websites/ 56

57. 57. National Copyright Unit www.smartcopying.edu.au Copyright for Educators 16 June 2022 57 https://smartcopying.edu.au/guidelines/library-exam-and-disability-copying/copying-for-exams/ Exam Copying Exception

58. 58. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Exam copying exception 58 * TAFEs are allowed to copy and communicate copyright material for use in online and hardcopy exams. * The exception covers: o all types of copyright material - images, text, music, films, videos, etc. o actual exams and assessments. o may cover 'practice' exams and assessments - must be considered on a case- by-case basis. https://smartcopying.edu.au/copying-for-exams-what-am-i-allowed-to-do-2/

59. 59. National Copyright Unit www.smartcopying.edu.au Copyright for Educators 16 June 2022 59 https://smartcopying.edu.au/guidelines/library-exam-and-disability- copying/disability-access-exceptions/ Disability Access Exceptions

60. 60. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Disability access exceptions 60 The Copyright Act contains two free disability copying exceptions: 1. use of copyright material by organisations assisting persons with a disability ('organisational disability exception') and 2. fair dealing for the purpose of assisting persons with a disability ('fair dealing for disability exception').

61. 61. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Disability access exceptions 61 Broad range of disabilities covered - such as difficulty in reading, viewing, hearing or comprehending copyright material in a particular form. Includes students: * with vision or hearing impairments * who are unable to hold or manipulate books * with an intellectual disability * with general learning difficulties such as dyslexia. Students do not need to be officially diagnosed with a disability to rely on the exceptions.

62. 62. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Disability access exceptions 62 * Under these exceptions, TAFEs are able to: o create a digital version of a hardcopy book and make any necessary adjustments, such as the font size or colour, to assist students with vision impairments o provide captions, audio-descriptions or subtitles to audio visual material (eg YouTube, films, etc) for students with hearing impairments o convert a book into Easy English o create audio books for students with vision impairment. * Both exceptions can be used by TAFEs to assist students with a disability, but the circumstances in which they apply differ.

63. 63. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Organisational disability exception 63 * Allows TAFEs to make accessible format copies for students with a disability if the copyright material is not commercially available in the format required by the student and with the appropriate features they require. * No restriction on the kind of format that can be created under this exception and could include the copying of a whole text work to a more accessible format.

64. 64. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Fair dealing for the purpose of access by persons with a disability 64 * The fair dealing for disability exception allows TAFEs to copy materials for students with a disability provided the use is 'fair'. * Common examples of fair dealings include: o copying short extracts from films or news stories and captioning them o copying pages from a book and enlarging the font.

65. 65. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Which disability exception applies? 65 Organisational Disability Exception Fair Dealing for Disability Exception If you need to copy or format shift an entire copyright work, it's recommended that you use the organisational disability exception provided the material is not commercially available. Where you are copying an extract or portion of a work for a disabled student, you may be able to rely on the fair dealing for disability exception. You can rely on this exception regardless of whether the material that your student requires is commercially available.

66. 66. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Notice requirements 66 Best practice to include the following notice where reasonably practicable: This material has been copied/made available to you under section [113E/113F (delete as required)] of the Copyright Act. Any further reproduction or communication of this material by you may be the subject of copyright protection under the Act. Do not remove this notice.

67. 67. National Copyright Unit www.smartcopying.edu.au Copyright for Educators 16 June 2022 67 https://smartcopying.edu.au/students-and-copyright/ Students Fair Dealing

68. 68. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Students fair dealing 68 * Students can copy and communicate works under "fair dealing" without seeking the permission of the copyright owner. * Most of the copying/communicating that students do as part of their study will fall under the fair dealing for research and study exception. "classroom" by Lauren Manning is licensed under CC BY 2.0

69. 69. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Education exception FAQs 69 1. Can I use my personal Netflix subscription to show a documentary in class for educational purposes? 2. Can I format shift a film in DVD format to MP4 to upload onto our TAFE's DTE when the film is available to purchase in a digital format? 3. Can I copy a part of a film to include in an exam when the film is commercially available? 4. Can I enlarge the font size of a book for a student with reading difficulties?

70. 70. National Copyright Unit www.smartcopying.edu.au 70 Copyright for Educators 16 June 2022 Commercial Activities and Seeking Permission

71. 71. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Commercial activities 71 TAFEs may be able to rely on the Statutory Text and Artistic Works Licence to copy materials for use in course materials: * for courses delivered by TAFEs for a commercial client * for 'hobby', non-accredited and vocational courses * provided to TAFE students based in other countries, so long as: o the students are undertaking a course conducted by the Australian TAFE institute o any print materials are copied in Australia, and digital materials are stored and uploaded to a server from Australia * for a mainstream course with full paying students as long as it is for educational purposes and the materials are sold at no more than cost. https://smartcopying.edu.au/faqs/commercial-activities-in- tafe/.

72. 72. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Commercial activities 72 However, TAFEs cannot: * supply materials created under the Statutory Text and Artistic Works Licence, at more than cost price * supply materials created under the Statutory Text and Artistic Works Licence to a commercial entity (eg for use in-house training) * use content available under a 'non-commercial' Creative Commons licence in course materials where students are charged more than the actual cost of producing the resources.

73. 73. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Commercial activities 73 A better approach when TAFEs are commercialising teaching materials is not to rely on the Statutory Text and Artistic Works Licence at all, and instead: * use and/or repurpose TAFE owned content * link to materials * seek permission to use the materials or rely on an existing permission the TAFE may have. See Permission templates on the Smartcopying website. https://smartcopying.edu.au/faqs/commercial-activities-in- tafe/.

74. 74. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Seeking permission and consents 74 Seeking permission Consent from students TAFE institutes should seek permission from the copyright owner when: * they are not able to, or it is not practicable, to rely on a statutory or voluntary licence or educational use exception to use material in the way they intend (eg if uploading a resource to a public TAFE website) * the material is not licensed under Creative Commons. To seek permission, you will need to: * figure out who the copyright owner is * write/email them to seek permission. Consent is required from a student (or their guardian) if a TAFE is using material created by students and/or using photos or videos of students internally (eg on a password protected DTE or classroom) or externally (eg on the TAFE website or social media platforms such as Facebook or YouTube): * in class activities * in documents, newsletters, displays, journals, professional development materials used internally or externally * as part of marketing materials for the TAFE (eg an information booklet, poster or on the TAFE website). For information about when permission is required and sample permission requests, see https://smartcopying.edu.au/guidelines/permissions-and-consents/.

75. 75. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Attributing material used with permission 75 Best practice attribution of material where you have permission to use a third party work: 1. As a resource on its own/in a resource you created Reproduced and made available for copying and communication by [TAFE name] - [institute name], for [its] educational purposes with the permission of [name copyright owner]. 2. If permission is limited to use in the specific resource (ie no further copying or communicating is permitted) Reproduced and made available for copying and communication by [TAFE name] - [institute name], for [its] educational purposes with the permission of [name copyright owner] (for use in this publication only). https://smartcopying.edu.au/labelling-and-attribution/

76. 76. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Commercial activities and seeking permission FAQs 76 1. Can we sell materials for a professional development course that TAFE is delivering, that include images copied under the Statutory Text and Artistic Works Licence? 2. How would I go about seeking permission to copy an entire safety manual produced by a mining company?

77. 77. National Copyright Unit www.smartcopying.edu.au 77 Copyright for Educators 16 June 2022 Recap: How can I use material?

78. 78. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au 78 Copy and communicate Statutory Text and Artistic Works Licence Make accessible versions for students with a disability Disability Access Exceptions Use in an exam Exam Copying Exception Display in class Section 28 Translate, adapt, create material if not commercially available Flexible Dealing Exception https://smartcopying.edu.au/guidelines/text-material/ https://smartcopying.edu.au/guidelines/artistic-works-and-images/ Text and artistic works

79. 79. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au 79 Copy and communicate Statutory Broadcast Licence (WA TAFE only) https://smartcopying.edu.au/guidelines/radio-and-television-broadcasts/ Radio and television broadcasts Radio Tower by Unknown Author is licensed under CC BY-SA Play in class Section 28

80. 80. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au 80 https://smartcopying.edu.au/guidelines/films-and-videos/ Films and videos Play in class Section 28 Make accessible versions for students with a disability Disability Access Exceptions Use in an exam Exam copying exception Copy and communicate if not commercially available Flexible Dealing

81. 81. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au 81 Music Play or display in class Section 28 Perform or play outside class TAFE Music Licence Live stream or make recordings of a TAFE event TAFE Music Licence Make accessible versions for students with a disability Disability Access Exceptions Use in an exam Exam Copying Exception Music includes musical works and sound recordings https://smartcopying.edu.au/music-copyright-guide-for-tafes/

82. 82. National Copyright Unit www.smartcopying.edu.au 82 Copyright for Educators 16 June 2022 Open Education Resources and Creative Commons https://smartcopying.edu.au/creative-commons-oer/

83. 83. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au https://smartcopying.edu.au/introduction-to-oer/ What are Open Education Resources (OER) OER are teaching, learning and research materials that are in the public domain or have been released under an open licence that permits free access, use, modification and sharing by others with no or limited restrictions. "Is licensing really the most important question for OER?" by Caroline Madigan for opensource.com is licensed under CC BY-SA 2.0 83

84. 84. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au 84 https://smartcopying.edu.au/what-is-creative-commons/ What is Creative Commons (CC)? Creative Commons (CC) is the most common way of releasing materials under an open licence. CC are a set of free licences for creators to use when making their work available to the public. All CC licences permit use educational uses of a work. Teachers and students can freely copy, share and sometimes modify and remix a CC work without having to seek the permission of the creator. Adventures in Copyright by by Meredith Atwater for opensource.com is licensed under CC BY-SA 2.0

85. 85. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au 85 * CC creates a "some rights reserved" model. * The copyright owner retains copyright ownership in their work while inviting certain uses of their work by the public. * CC licences create choice and options for the copyright owner. Creative Commons: How it all works CC five years by shizhao is licensed under CC BY 2.0 Modifications: cropped

86. 86. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au CC licence elements 86 There are 4 licence elements which are mixed to create six CC licences: Attribution - attribute the author Non-commercial - no commercial use No Derivative Works - no remixing ShareAlike - remix only if you let others remix

87. 87. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au 87 CC licences Licence Type Licence Conditions Attribution Freely use, copy, adapt and distribute to anyone provided the copyright owner is attributed. Attribution No Derivatives Freely use, copy and distribute to anyone but only in original form. The copyright owner must be attributed. Attribution Share Alike Freely use, copy, adapt and distribute provided the new work is licensed under the same terms as the original work. The copyright owner must be attributed.

88. 88. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au 88 CC licences Licence Type Licence Conditions Attribution Non Commercial Freely use, copy, adapt and distribute for non- commercial purposes. The copyright owner must be attributed. Attribution Non Commercial No Derivatives Freely use, copy and distribute verbatim copies of the original work for non-commercial purposes. The copyright owner must be attributed. Attribution Non Commercial Share Alike Freely use, copy, adapt and distribute for non- commercial purposes provided the new work is licensed under the same terms as the original work. The copyright owner must be attributed.

89. 89. National Copyright Unit www.smartcopying.edu.au Copyright for Educators 16 June 2022 89 https://smartcopying.edu.au/how-to-find-creative-commons-licensed-materials/ Finding CC licensed materials

90. 90. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au The best place to start is openverse: https://wordpress.org/openverse. You can also search for CC licensed material on Google, YouTube and Flickr. Best way to find CC materials 90 "Large copyright sign made of jigsaw puzzle pieces" by Horia Varlan is licensed under CC BY 2.0

91. 91. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au openverse

92. 92. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au openverse one-click attribution 92 One-click attribution: openverse gives you the attribution for all images and audio. Makes it much easier to credit the source of any image you discover.

93. 93. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Google - CC search options 93 Two options 1. Go directly to the advanced search page: https://www.google.com.au/advanced_search. 2. After searching for an image on the normal Google Images search, you can filter so that the search results given are only CC images. https://smartcopying.edu.au/how-to-find-creative-commons-materials-using-google/

94. 94. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Google advanced search 94 * Once you're in the advanced settings, the usage rights filter is at the very bottom.

95. 95. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au 95 Once you're in the advanced settings, the usage rights filter is at the very bottom.

96. 96. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Google Images - Filter for CC images 96 After you search for an image, all you have to do is click "Tools", then under "Usage Rights" select "Creative Commons licenses".

97. 97. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au YouTube - Filter for CC videos 97 To find CC licensed YouTube clips, after you do a search: * click on the filters option and * under 'Features' select Creative Commons.

98. 98. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au YouTube - Filter for CC videos 98

99. 99. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Flickr 99 * Flickr has an entire section on their website dedicated to CC licensed images: https://www.flickr.com/creativecommons/. * When you're on that section of the website, you can browse images licensed under CC. * However, if you want to search for an image, you have to add a filter for CC licences.

100. 100. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Flickr 100 * When you search on Flickr, the default setting is to return results with 'Any licence'. * This setting has to be changed to return results only licensed under Creative Commons.

101. 101. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Flickr 101

102. 102. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Other places to find CC material 102 * Images: https://www.smartcopying.edu.au/open-education/open-education-resources/where-to- find-cc-licensed-material/where-to-find-cc-licensed-images * Videos: https://www.smartcopying.edu.au/open-education/open-education-resources/where-to- find-cc-licensed-material/where-to-find-cc-licensed-videos * Music: https://www.smartcopying.edu.au/open-education/open-education-resources/where-to- find-cc-licensed-material/where-to-find-cc-licensed-music * Audiobooks: https://www.smartcopying.edu.au/open-education/open-education-resources/where- to-find-cc-licensed-material/where-to-find-other-cc-licensed-material * Other good CC/OER websites with an array of materials: https://www.smartcopying.edu.au/open- education/open-education-resources/where-to-find-oer-materials

103. 103. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au CC plugins 103 * CC Plugin for WordPress websites: allows for easy searching and use of CC-licensed images for WordPress websites: https://wordpress.org/plugins/ls-wp-ccsearch/. * CC Add-in for Microsoft Office: enables you to embed Creative Commons licenses directly into Word, PowerPoint, and Excel documents: https://www.microsoft.com/en- us/download/details.aspx?id=13303. * A number of other plugins to help search for, integrate and licence CC material: https://wordpress.org/plugins/tags/creative-commons/. * The openverse browser extension is an open-source, lightweight plugin that can be installed and used by anyone with an updated web browser.

104. 104. National Copyright Unit www.smartcopying.edu.au Copyright for Educators 16 June 2022 104 https://smartcopying.edu.au/applying-a-creative-commons-licence/ Licensing your learning resources under CC

105. 105. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Applying a CC licence to your learning resources 105 * TAFEs are encouraged to use CC licensed resources as well as license learning resources they create under CC, where possible. * This is because teachers can do more with CC licensed material and it is free to access, use, modify and share. * For more information on how to do this, see https://smartcopying.edu.au/applying-a-creative-commons-licence/.

106. 106. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Adding a CC licence to learning resources 106 To license a learning resource that you've created under CC, all you have to do is: 1. choose your CC licence: https://creativecommons.org/choose/ 2. copy the CC licence icon 3. paste the icon onto the resource along with the attribution information and/or any other notice you would like to include and 4. include a copyright statement on the resource to reflect the CC licence. All Creative Commons Licence icons, can be found on the Creative Commons Licence Chooser website: https://creativecommons.org/choose/. https://smartcopying.edu.au/applying-a-creative- commons-licence/

107. 107. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au How to label third party content 107 There is no single correct way to label third party content, and different situations may require more or less complicated notices and marking. There are 2 often used mechanisms: 1. A notice next to third party content: this involves marking or notating all third party content. To do this you should indicate directly underneath the content. OR 2. A general notice listing all third party content: this involves giving a general notice that identifies all third party content. This notice would usually be included in your terms of use or copyright statement for a website or in the verso page or bibliography for a work.

108. 108. National Copyright Unit www.smartcopying.edu.au Copyright for Educators 16 June 2022 108 https://smartcopying.edu.au/how-to-attribute-creative-commons-licensed-materials/ Attribution of CC licensed material

109. 109. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Attributing CC material 109 Teachers can use CC licensed materials as long as you follow the licence conditions. One condition of all CC licences is attribution. When attributing remember TASL:  T: Title  A: Author  S: Source  L: Licence Always check whether the creator has specified a particular attribution. "Free Stock: Copyright sign 3D render" by Muses Touch is licensed under a CC BY-NC-ND 2.0

110. 110. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Where should I place the attribution? 110 * Text resources (eg books, worksheets, PowerPoint slides etc): next to CC work or as the footer of the page on which the CC work appears. * Video works: near the work as it appears on screen during the video. * Sound recordings (eg podcasts): mention the name of the artist during the recording (like a radio announcement) and provide full attribution details in text near the podcast where it is being stored (eg blog, TAFE intranet, learning management system etc).

111. 111. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Attributing CC material 111 How would you attribute this CC image: https://www.flickr.com/photos/lschlagenhauf/38494602082/? Furggelen afterglow taken by Lukas Schlagenhauf. This image can be used under Creative Commons BY ND 2.0 Generic Licence.

112. 112. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Attributing CC material 112 1. Title: Furggelen afterglow 2. Author: Lukas Schlagenhauf - linked to his profile page 3. Source: Furggelen afterglow - linked to original Flickr page 4. Licence: CC BY-ND 2.0 - linked to licence deed "Furggelen afterglow" by Lukas Schlagenhauf is licensed under CC BY-ND 2.0.

113. 113. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Attribution of TAFE owned material 113 * Material that has been created by your TAFE should be clearly labelled as such in order to avoid paying fees under the Statutory Text and Artistic Works Licence to use the material. * This is best done with a footer on each page. * Examples: o © [TAFE name] - [institute name], 2020 o © [TAFE name] - [institute name], 2020. Except as otherwise noted, this [insert content title] is licensed under the Creative Commons Attribution-ShareAlike 4.0 International Licence. To view a copy of this licence, visit https://creativecommons.org/licenses/by-sa/4.0/. * If you are licensing a website under CC or have questions about labelling third party content, see Applying a Creative Commons Licence. https://smartcopying.edu.au/labelling-and-attributing/

114. 114. National Copyright Unit www.smartcopying.edu.au Copyright for Educators 16 June 2022 114 https://www.oerafrica.org/communication/find-open- content/index.html#/lessons/_JVZ0dzfoYEImW4tZxtuA1hgwWiLd23q Creative Commons Quiz

115. 115. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Useful OER and CC links 115 * OER in Australia * Creative Commons Information Pack for teachers and students * Where to find CC licensed materials * Short explainers on CC and OER * Videos on Creative Commons * CC Search Browser Extension

116. 116. National Copyright Unit www.smartcopying.edu.au 116 Copyright for Educators 16 June 2022 Workshop

117. 117. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Case Study 1 - Statutory licences Josie, a social work teacher, is preparing a teaching resource. She: 1. photocopies pages from a textbook to hand out to students in her class 2. uploads a list of website links to the TAFE DTE for her students to access 3. scans and uploads an entire novel to the TAFE DTE when the novel is commercially available as an e-book 4. copies a TV broadcast and uploads it to the TAFE DTE. Is Josie allowed to do each of the activities? If yes, are there any restrictions on how she can use it (eg consider copying limits, labelling requirements)? 117

118. 118. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Case Study 2 - Music Jake is a music production teacher. He: 1. is organising a TAFE fashion show and wants to play recorded music at the event 2. intends to record a TAFE Event such as a Graduation Ceremony and upload to the TAFE Facebook page, as well as his personal Facebook page 3. intends to live stream the open day on the TAFE website 4. intends to play recorded music as background music in a TAFE staff room. Is it okay for Jakes to do these activities? 118

119. 119. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Case Study 3 - Educational exceptions Samantha is a librarian who has been asked by teachers in her TAFE if they are allowed to: 1. play music from Spotify in class for educational purposes 2. create a teaching resource that includes YouTube clips 3. make a digital version of a DVD and upload that to the TAFE DTE when a digital version is not commercially available 4. upload two minutes of a film onto the TAFE DTE and provide students access to it for use in an online exam, when the film is commercially available on Google Play. What should Samantha tell them? Are these activities covered by a licence or exception? If so, please specify which. Are there any other restrictions? 119

120. 120. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Case study 4 - Creative Commons Issy is a marine biology teacher at a TAFE. She has created a resource for her classes. She wants to license it under a CC BY licence (with her TAFE's approval). Can she do the following with her resource? 1. License the resource under Creative Commons. 2. Use a photograph that was released under a CC BY licence in her resource. 3. Make changes to an illustration that has been licensed under a CC BY ND licence and use it in her resource. 4. Use an image that she sourced from the internet (not CC licensed) in her resource. 120

121. 121. National Copyright Unit www.smartcopying.edu.au 121 Copyright for Educators 16 June 2022 Smartcopying Tips

122. 122. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Smartcopying tips 122 Where possible, create your own content. * TAFE's own material can be used or adapted however you like. * Free - no copyright licence fees are paid on TAFE owned materials. * Remember to label this material so that it is clear it is TAFE owned material. The Light Bulb Fragment, Day 208 of 365 by DieselDemon is licensed under a CC BY 2.0.

123. 123. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Smartcopying tips Use Creative Commons (CC) licensed content and consider licensing your resources under CC. * Material whose owner has given permission for the material to be used for educational purposes, for free. * Depending on the licence, it can also be modified and shared by teachers and students. Creative Commons - cc stickers by Kristina Alexanderson is licensed under CC BY 2.0 123

124. 124. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Smartcopying tips Link - link or embed material whenever possible. Providing a link is not a copyright activity. You are not copying the content, just providing a reference to its location elsewhere. "Netzwerke" is licensed with CC0 1.0. Modifications: recoloured. 124

125. 125. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Smartcopying tips Label - always attribute the source. * All material created and used for educational purposes should be properly attributed. * Attributing is important to ensure that we don't pay licence fees for material we already own or are allowed to use - eg TAFE created content. * It is also important to label material where you have permission to use it * Attribution should include details such as: o the copyright owner and/or author o where the material was sourced from o when it was sourced Price Tag by pngimg.com is licensed under CC BY-NC. Modifications: recoloured. 125

126. 126. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Smartcopying tips Limit - ensure access to material is limited to the relevant staff/students only * Once material is communicated to an entire TAFE/campus or jurisdiction, the risk of copyright infringement increases. * Collecting societies believe that the value of content increases with the number of people who can access it. * Limiting access is important for cost and risk management. Login Computer Internet Password Security by Max Pixel is licensed under Creative Commons Zero - CC0. Modifications: recoloured. 126

127. 127. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Smartcopying tips Clear out material that is no longer required Clearing out material as soon as possible when it is no longer required is one practical way of managing copyright risk and costs. "Future Shop 'Back to School'" by Tendril * is licensed under CC BY-ND 4.0 127

128. 128. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Tips for encouraging copyright compliance 128 TAFEs can do the following to ensure student and staff compliance with copyright obligations: * Encourage the use of the Smartcopying website and contact the NCU with any copyright questions. * The NCU leads a 'Copyright for Educators' course - this is a free online course for all Australian school and TAFE teachers and librarians. * Ensure students and teachers are aware of the Smartcopying tips - Link, Label, Limit and Clear out material when no longer needed. * Encourage the use of Creative Commons and OER where possible. Have a look at our short explainers on CC and OER on the Smartcopying website. * The NCU has also developed a series of flow charts that outline how staff can use third party material in their learning resources.

129. 129. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Creating learning resources that include third party text and artistic works 129 https://smartcopying.edu.au/flowcharts/

130. 130. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au Copyright 4 Educators online course 130 * Free online course for educators who want to learn about copyright, statutory licences, educational exceptions and open educational resources. * 7 week course. Three courses are running in 2022. * More information on the Smartcopying website: http://www.smartcopying.edu.au/educational-resources/copyright-4-educators- course.

131. 131. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au More information 131 www.smartcopying.edu.au https://www.slideshare.net/nationalcopyrightunit/ smartcopying@det.nsw.edu.au 02 7814 3855

Answers

copy, perform and communicate the copyright material to the public.
Yes, playing a film to an audience is a copyright activity - it is a 'performance activity'.
Yes, displaying material on an interactive whiteboard is a copyright activity. It could be categorised as a 'performance'. It may also be a communication.

Answers:

It depends, but likely no. TAFE's may copy and communicate text in both hardcopy and electronic form for educational purposes, in reliance on the Statutory Text and Artistic Works Licence. Scanning is permitted, and so is uploading to a DTE. However, teachers can only copy and communicate text works as long as the amount copied or communicated 'does not unreasonably prejudice the legitimate interests' of the copyright owner. Therefore, whether you can scan the entire book, depends on the book. For works that are available to buy, only portions of the work can be copied for educational purposes under the licence. For these works, the '10% or one chapter rule' is still a useful guide. For other works, such as older 'out of print' works, or works made available on the internet without any expectation of payment, teachers may be able to copy more (or even all) of a work. Teachers should also label and attribute material they copy under the Licence, we will discuss in more detail later in the presentation.
Yes, under the Statutory Text and Artistic Works Licence. Teachers should also label and attribute material they copy under the Licence, we will discuss in more detail later in the presentation.
Yes, under the Statutory Text and Artistic Works Licence. Teachers should also label and attribute material they copy under the Licence, we will discuss in more detail later in the presentation.
Yes, under the Statutory Text and Artistic Works Licence. However, use of the image is not free. Schools and TAFE institutes are currently paying millions of dollars a year to use freely available internet content under the Statutory Text and Artistic Licence. Where possible it is better to use images licensed under Creative Commons instead. We will talk more about where to find CC Licensed materials later in the presentation.

We will be discussing the education copyright exceptions later in the presentation.

We will be discussing the education exceptions in the Copyright Act, in more detail later in the presentation.

Answers:

Yes, TAFEs can play live music at a TAFE event, such as an Open Day or Fashion Show, under the TAFE Music Licence.
Yes, under the TAFE Music Licence, TAFEs can play background music at TAFE operated restaurants.
Yes, TAFEs can play pre-recorded music (eg a popular song) at a TAFE graduation ceremony, under the TAFE Music Licence.
Yes, under the TAFE Music Licence, TAFEs can make a recording of a TAFE event, and upload to social media. TAFEs can rely on licences that APRA AMCOS and record labels have with social media platforms to communicate recordings of TAFE events to their Facebook pages.
Note, the post may still be muted by the social media platform, or taken down.

If section 28 does not apply, the TAFE may be able to rely on the TAFE Music Licence (ie first two bullet points)

It is better to simply play the content in class or provide a link to students.

If appropriate to your TAFE/teaching area, you may want to also use Creative Commons materials (provided these are not CC NC).

For example, relying on the statutory licences or exceptions may not be appropriate as doing so can:

Increase copyright licence fees (for example, copying images from google in reliance on the statutory licence)
Limit the way you can use resources (cannot share publicly, must keep on a TAFE password protected intranet or website).

In the following circumstances, it is preferable that you seek permission:
If you are coping lots of material from the same resource (eg you might be using lots of different diagrams from one website as part of a Floristry Design Course)
If you are copying lots of material that will be available for a long period of time (for example, copying content into a course that will be available for a long period of time (1-2 years)).

Answers:

Yes, provided that the materials copied under the Statutory Text and Artistic Licence are provided at no more than cost, the sale price only covers the physical production of the materials and/or other direct costs, and does not include a profit margin.

2) To seek permission, you write an email to the mining company. Any permission should be obtained in writing. However, permission can be as simple as an email from the mining company confirming that you are allowed to use the material in the way you intend.

Openverse was previously CC search

You can filter for CC licensed images or audio on Openverse by clicking on the "All content" dropdown in the search bar and selecting "images" or "audio".

Remember:

You cannot apply a Creative Commons licence to third party content as you do not have the rights
For all third party content, you must prominently mark or indicate in a notice that this content is excluded from the Creative Commons licence
Learning resources that include third party content cannot go on a public website. Must be password protected.

Answers:

1) Yes, Jake can play recorded music (eg popular songs) at a TAFE fashion show under the TAFE Music Licence.

2) Yes, Jake can make the recording of the Graduation Ceremony, and upload this to the TAFE social media page, under the TAFE Music Licence. TAFEs can rely on licences that APRA AMCOS and record labels have with social media platforms to communicate (ie make available) the recording on the social media page. However, note the TAFE Music Licence does not cover Jake uploading the recording to his personal Facebook page.

3) Yes, Jake can live stream the TAFE Open Day via the TAFE Website under the TAFE Music Licence.

4) Yes, Jake can play recorded music as background music in the TAFE staff room under the TAFE Music Licence.

Where you have permission to use material, it is important to label this material so it is clear how you are able to use it.

When you seek permission, remember to ask the copyright if there is a specific way they would like to be attributed.

Have a look at our downloadable Flowcharts on the Smartcopying website.

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National Copyright Unit, Education Council

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Copyright for Educators - TAFE - 16 June 2022

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1. National Copyright Unit www.smartcopying.edu.au 1 Copyright for Educators 16 June 2022 Copyright for Educators - TAFE National Copyright Unit Alison Davis and Holly Cordell 2. Copyright for Educators 16 June 2022 National Copyright Unit www.smartcopying.edu.au National Copyright Unit The Ministers' Copyright Advisory Group (CAG), through the NCU, is responsible for copyright policy and administration for the Australian school and TAFE sectors.

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by Chelsea Lee

Perhaps the most common question we get about APA Style is “How do I cite a website?” or “How do I cite something I found on a website?”

First, to cite a website in general, but not a specific document on that website, see this FAQ.

Once you’re at the level of citing a particular page or document, the key to writing the reference list entry is to determine what kind of content the page has. The Publication Manual reference examples in Chapter 7 are sorted by the type of content (e.g., journal article, e-book, newspaper story, blog post), not by the location of that content in a library or on the Internet. The Manual shows both print- and web-based references for the different types of content.

What seems to flummox our readers is what to do when the content doesn’t fall into an easily defined area. Sometimes the most you can say is that you're looking at information on a page—some kind of article, but not a journal article. To explore this idea, imagine the Internet as a fried egg. The yolk contains easier to categorize content like journal articles and e-books. In that runny, nebulous white you’ll find the harder to define content, like blog posts, lecture notes, or maps. To wit, the egg:

APA Style Template for Website References

Content in that egg white area may seem confusing to cite, but the template for references from this area is actually very simple, with only four pieces (author, date, title, and source):

Author, A. (date). Title of document [Format description]. Retrieved from https://URL

In text: (Author, year)

That format description in brackets is used only when the format is something out of the ordinary, such as a blog post or lecture notes; otherwise, it's not necessary. Some other example format descriptions are listed on page 186 of the Publication Manual.

It is permissible to leave hyperlinks live in reference list entries.

Example of a Website Reference With All Information Present

Here’s an example (a blog post) in which we have all four necessary pieces of information (also see Manual example #76):

Examples of Website References With Missing Information

Sometimes, however, one or more of these four pieces is missing, such as when there is no identifiable author or no date. For each piece of missing information there is a way to adapt the APA Style reference.

Here’s an example where no author is identified in this online news article (the title moves to the author position):

And here’s an example for a webpage where no date is identified (the letters n.d., which stand for no date, are substituted in place of a year):

Over the years we have also covered example references for tweets and Facebook updates, press releases, interviews, wikipedia articles, and artwork in other blog posts. We recommend that you search the blog for your reference type if you are still unsure of how to create the reference.

For a complete explanation of how to create website references no matter how much information you have, read this post on "missing pieces" and download our chart here: How to Adapt APA Style References When Information Is Missing. This chart can be used for educational puposes provided that credit is given to the American Psychological Association.

Thanks for reading!

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APA Style 6th Edition Blog: How to Cite Something You Found on a Website in APA Style

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by Chelsea Lee Perhaps the most common question we get about APA Style is “How do I cite a website?” or “How do I cite something I found on a website?” First, to cite a website in general, but not...

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Some people still tell their doctoral researchers that they can't cite blogs. Really? Yes really.

Just to start with ... of course you CAN cite blogs. The fact that all of the big citation styles - APA for instance - now have citation formats which not only cover newspapers and reports and webpages but also blogs clearly suggests that you CAN. And that people are.

But why would you? The most helpful analogy for referring to blogs is to think about what are called grey literatures, those documents that are public and important and sometimes highly influential - but have not been through a scholarly process of peer review. The Grey Literature Report offers this definition:
The Fourth International Conference on Grey Literature (GL '99) in Washington, DC, in October 1999 defined grey literature as follows: "That which is produced on all levels of government, academics, business and industry in print and electronic formats, but which is not controlled by commercial publishers." In general, grey literature publications are non-conventional, fugitive, and sometimes ephemeral publications. They may include, but are not limited to the following types of materials: reports (pre-prints, preliminary progress and advanced reports, technical reports, statistical reports, memoranda, state-of-the art reports, market research reports, etc.), theses, conference proceedings, technical specifications and standards, non-commercial translations, bibliographies, technical and commercial documentation, and official documents not published commercially (primarily government reports and documents)
The New York Academy of Medicine ( proper researchers eh, they can't be wrong, she says wryly) keeps a data base of grey literature, explaining that
Grey literature offers a unique perspective to the research community because government agencies and think tanks produce these reports on topics that effect policy and the people who implement that policy. Grey literature is also timely because it is not subject to a long or peer-reviewed publishing process. For instance, the morning the U.S. Supreme Court made the deciding vote on the Affordable Care Act (ACA) their report was available online at 10:15 am. This report lays out the reasons for the decision as well as the options states have for implementing the changes.
Grey literatures are useful to researchers and are cited in the knowledge of what they are. A policy text is cited but also critically interrogated. A government statistical report is cited but may also be critiqued. A memoranda from a CEO might be cited for what it reveals about corporate practice. A state of the art report is cited and its discourses analysed. A series of news media reports are cited to indicate key aspects of context and debate.

We scholars know how to work with grey literatures.

So do blogs count as grey literature? You bet they do. And they need to be treated in much the same way.

The question is not about whether you can cite blogs, but how and why. You have to decide with any publication, blog or not, their credibility and authenticity. And you have to decide with any published source what you want to use it for.

But blogs are not peer reviewed, I hear you say. Well no, most blogs aren't. Thats why they are grey literature. But some do have strong editorial management just like edited books. And the comments made on posts are often far more rigorous than those that might be offered by a couple of peer reviewers. But yes, the vast majority of blogs aren't peer reviewed, but we scholars already use all kinds of literatures that aren't peer reviewed. Why exclude blogs?

We need to draw on what we already know about how to work with non peer reviewed material. As with any grey literatures, it's important to ask questions of a blog post that you want to cite. First of all, what is it? Not all blogs are the same. They range from being personal diaries to journalistic reports of events to research method to research results reporting. And then you need to ascertain what kind of information is offered, who it's written by and for and how it's positioned ... So you ask - is this an opinion piece, a report of an activity, a review of literatures? And you need to ask - Who has written this post? Academic bloggers range from anon to early career researchers on top of all of the literatures and debates to star researchers with years of experience and credibility. You can usually find out who the bloggers are and decide how much you will trust what they say. You also look for the basis on which the bloggers are writing and making claims. What references do they offer in hyperlinks?

The point is that you need to apply to blogs the same kind of crap detection practices that you apply to any web material or government report or political press release so that you can ascertain where it comes from, and its status.

Asking critical questions of a text is hardly a new and innovative academic activity. Social media might be relatively new to (some of) us, but working with a range of texts isn't.

And the ways in which we use blog posts in our academic work aren't particularly new and unusual either. If we wouldn't cite a university press release about research results but would go to the actual report and read it for ourselves, then we do the same with a blog post, we go to the source. If we wouldn't cite a personal anecdote without additional evidence that this was a 'typical' view or experience, then we do the same with a blog post - we get beyond the one-off case. If we wouldn't cite one letter to the editor as evidence of common public opinions, then we don't do that with a blog post either. If we wouldn't cite a mere two or three newspaper articles as evidence of widespread debate than we don't do that with blogs either. Etc. Etc.

But there's plenty of ways that we can use blog posts - an essay post for example may be very well reasoned and offer particularly interesting angle; a post that responds to a corpus of scholarly literature or a particular theory might have a new perspective; a political commentary might raise critical issues, a personal story might cast doubts about a new policy or common practice ... Etc. Etc.

Not so hard. When we think about citing blog posts, we simply have to be clear about what we are citing, why, the basis on which they are 'information' or 'knowledge' and the claims we make about them. Simple. Just like we do with any other publication.

And really - to those supervisors who are telling their doctoral researchers never to cite blogs - that really doesn't help them or you. Blogs are out there, they're not going away, and they are part of the information ecology that we study and work in. Time to get with the programme. Now.

Image credit: Kennedy Library

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Some people still tell their doctoral researchers that they can't cite blogs. Really? Yes really. Just to start with ... of course you CAN cite blogs. The fact that all of the big citation styles - APA for instance - now have citation formats which not only cover newspapers and reports and webpages but also...

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ICT Capabilities (The Australian Curriculum)

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ICT Capabilities (The Australian Curriculum)

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This element involves students developing an understanding of how social and ethical protocols and practices are applied when using ICT. Students apply appropriate practices to recognise the intellectual property for digital information of themselves and others.

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Stay safe online with info, resources and advice for students and parents.

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The Australian Professional Standards for Teachers (AITSL)

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The Australian Professional Standards for Teachers (AITSL)

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As a teacher, it's your role to grow and develop the minds in your classroom. That's where the Australian Professional Standards for Teachers comes in. The Standards let you know what you should be aiming to achieve at every stage of your career. So you can improve your practice inside and outside of the classroom.

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As a teacher, it's your role to grow and develop the minds in your classroom. That's where the Australian Professional Standards for Teachers comes in. The Standards let you know what you should be aiming to achieve at every stage of your career. So you can improve your practice inside and outside of the classroom.

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This recourse is a great way for the teacher to gain an overview understanding of Digital Pedagogies, with the option to engage in a number of additional specific readings. This source would be great as an introduction for teachers looking to try out some digital pedagogies in their classroom. Additionally, this resource would be great for teachers who have been implementing digital pedagogies into the classroom however are feeling lost or need to go back to basics and reassess their methods. The resource also includes a podcast, which is extremely useful as teacher's are extremely busy people and can listen in the car or while working on other things.

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Digital Pedagogy is as much about using digital tools thoughtfully as it is about deciding when not to use digital tools, and about paying attention to the impact of digital tools on learning.

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Ideas for Digital Tool Integration in the Classroom

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Ideas for Digital Tool Integration in the Classroom

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20 Digital Tools for Classroom for Innovative Teachers & Students

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A selection of digital tools for classroom for making infographics, presentations, videos, animations, as well as tools for assessments, quizzes, and more!

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Problem based learning (PBL) is an essential in the classroom. It allows for choose your own adventure twist on traditional content, which encourages students to explore a range of different potential solutions to real world scenarios. This teaching method is directly linked to life skills, and can help develop abilities such as problem solving, understanding multiple perspectives and weighing up options in a variety of situations. With the world rapidly growing, we are all often faced with decisions to make and problems to solve, such as how to purchase a first car, how to budget appropriately, which job offer to take or which piece of furniture to purchase. Students being able to engage in research and reach appropriate solutions to their problems is a key life skill and will equip them for life after school as they enter the workforce and become adults.

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Problem Based Learning

What is it?

Problem based learning (PBL) is a teaching strategy during which students are trying solve a problem or a set problems unfamiliar to them. PBL is underpinned by a constructivist approach, as such it promotes active learning. Activities are carried out with groups of students, typically in a tutorial or seminar setting. PBL fosters self-directed learning, effective problem solving, communication and collaboration skills. Students tend to work in groups to problem solve with the lecturer or tutor taking a backstage role during the activity, their involvement is usually limited to guiding and monitoring the process.

Resources

Links to relevant PD:

Case Studies:

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Problem Based Learning Problem based learning (PBL) is a teaching strategy during which students are trying solve a problem or a set problems unfamiliar to them. PBL is underpinned by a constructivist approach, as such it promotes active learning. Activities are carried out with groups of students, typically in a tutorial or seminar setting.

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SAMR - A Model for Instructional Technology Use

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Skip to main content

Whether you are an experienced maths or computer science teacher or not, we all need to look at our own practice critically to ensure that we have the technological (T), pedagogical (P) and content knowledge (CK) necessary to design great learning for our learners' needs. The TPACK model is a simple way to think about this.

As teachers, it is important to be able to reflect on our own practice as learners. The greatest gift we can give the learners in our classes is the understanding that learning is a continual process and to model what it means to be a great learner. Throughout the Hub, you will find examples of pedagogical practice, Digital Technologies curriculum content knowledge and references to the use of technology. While it is natural to be stronger in one area than another, we are aiming to move to a level of practice where our pedagogy is varied and purposeful, our content knowledge is strong enough to give us confidence to find out what we don't know, and where we have a varied toolbox of technologies to choose from. As with any form of assessment, it may be useful to look at your own capacities against a self-assessment grid like the one below.

Quantity of knowledge

Quality of understanding

Criteria

Pre-structural

Uni-structural

Multi-structural

Relational

Extended abstract

Technology: personal and class use

I use no technology in my teaching and learning.

I rely heavily on one type of technology in my teaching and learning.

I use multiple types of technology in my teaching and learning.

I have a wide variety of technologies in my toolbox and am able to select when to use them judiciously.

I have a rich technology toolbox and am able to identify, source and use new technologies as required by my pedagogy.

Pedagogy: deliberate and varied approaches to learner centred design

I cannot identify any purposeful pedagogies I use.

I have a predominant approach to learning design which is didactic in nature.

I have several different pedagogies which I can switch to as a dominant style of teaching and learning.

I have a wide variety of pedagogical approaches and blend several approaches in every learning sequence.

I have internalised my pedagogical approaches so that I can react in an agile manner to learner needs, let go of control when necessary and experiment with new pedagogies confidently.

Content knowledge: Digital Technologies

I have very little knowledge of the Digital Technologies curriculum.

I understand the reasons why we have a Digital Technologies curriculum.

I know several aspects of the Digital Technologies curriculum, such as hardware, software and algorithm.

I understand how the different aspects of the Digital Technologies curriculum interrelate but am more confident in some than others.

I can confidently explain, in depth, each aspect of the Digital Technologies curriculum and how they interrelate.

Once you have completed this self-assessment, you can approach improving your TPaCK level by exploring some of the exemplars to see technology, pedagogy and content knowledge in situ. If you want some specific help with pedagogy, read the Pedagogical practices section in detail. If you need support on the content knowledge, have a look at some of the explanations in the Teacher content knowledge resources for our exemplar lesson.

You may have very strong skills in designing learning (P) but no expertise in algorithmic thinking (CK) or using Beebots (T). This site is here to help you fill in the gaps so that you can design great learning for every learner in your care. In this section, you will find an example of a lesson focusing on Year 2 level learners in Digital Technologies, English and Mathematics. We have designed a lesson to tackle these, using Beebots. If you don't have access to real Beebots, you could use an online Beebot simulator. We have provided an example lesson plan and, importantly, some links to resources that will help you to develop your TPACK understanding for this particular example.

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Skip to main content Whether you are an experienced maths or computer science teacher or not, we all need to look at our own practice critically to ensure that we have the technological (T), pedagogical (P) and content knowledge (CK) necessary to design great learning for our learners' needs.

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Practitioners and leaders in digital innovation have been using technology to enhance the curriculum for some time, and our member stories illustrate how much good practice has been established. However, how do we know if this practice is transforming the way we deliver our curriculum? And, what can we do to find out?

Digital teaching and learning models

Models can help you identify which digital practices have become embedded in your curriculum and whether they are starting to bring about digital transformation. One such model is SAMR and it has received a lot of attention in recent times.

What is SAMR?

SAMR (substitution, augmentation, modification and redefinition) was developed by Dr R. Puentedura, following research into how the use of digital technology was transforming classroom-based teaching and learning.

The diagram below explains the four categories.

The first two categories, substitution and augmentation, describe a situation where the technology is either directly replacing an existing process or has replaced an older technology, but with little gain. Think about how interactive whiteboards replaced overhead projectors. Ok, the technology was more advanced, but the teaching mostly remained the same. Where digital use matches substitution or augmentation, the technology is said to be enhancing the existing teaching practice.

The next two categories, modification and redefinition, describe how digital use has led to a significant change in the way teaching and learning is planned and delivered. If the introduction of technology has created a brand new practice, then redefinition has taken place. Collectively, these two categories are more likely to promote digital transformation.

Applying SAMR to digital practice

Talk to people and they'll tell you that their overriding desire for technology is to see it transform the student experience. So, how can you use SAMR to achieve this?

We could use SAMR to carry out a simple benchmarking exercises against the available technology for learning and teaching. However, there's a risk that this diverts our attention to the technology rather than the outcome of our effort to change the way we deliver learning and teaching.

A more useful exercise would be to use SAMR as an audit tool to assess how the use of technology is shaping teaching and learning practice. This would provide valuable insights for individual teachers, while assisting leaders to identify where the investment in digital practice is bringing about worthwhile benefits, for example, with better management of resources.

How can SAMR inform the next steps?

Once we know how technology is shaping our learning and teaching practice, it can be used to inform our plans for innovation.

Start by asking 'how can we use SAMR to extend our practice and improve the student experience?'

Teachers could audit a specific example where their use of technology is just substituting or augmenting practice. Alternatively, you might choose to use SAMR to improve the procurement of new technology by asking whether the investment in technology is likely to lead to worthwhile digital transformation.

As you become familiar with SAMR, it's helpful not to see SAMR as hierarchical - that redefinition is the goal for the application of all technology. There will be situations when it's appropriate for technology to substitute or modify an existing practice.

Alternative models

A few other models you may be familiar with are the TPACK (technological pedagogical and content knowledge) or the RAT (replacement, amplification and transformation) model.

The wider picture

Addressing the challenge for more flexible study patterns is closely tied to digital transformation.

Our tackling digital transformation together event brought experts together to discuss what digital transformation is and is not.

We must remember that innovation doesn't have to be all about using the most advanced technology.

Related guidance

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Applying the SAMR model to aid your digital transformation

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A quick guide to help digital leaders and practitioners identify and amplify transformative digital practice.