#OpenedMOOC Week 6: The Triumph of the Immaterial

This is the final week of the #openedMOOC and my final post. Like Matthias Melcher I have surprised myself by reaching the end of this MOOC. When I first considered signing up, I thought the MOOC would be more about open education more broadly and discussions around open pedagogy, than about open educational resources. Also like Matthias I have not wanted to complete the MOOC tasks or meet the course objectives; instead I have followed my own interests.

Like some others – see the Twitter stream #openedMOOC – I have enjoyed the weekly videos of discussions between George Siemens and David Wiley, which succeeded in being very informative, and also Stephen Downes’ videos, because he always brings an alternative perspective.

Again this week, Merle Hearns has done a really good job of pulling together this week’s content in her blog,  so there is no need for me to repeat it. Merle discusses Norman Bier’s video, which is well worth watching and from which I made these brief notes:

For Norman Bier the future of OER will depend on how technology is used to collect and apply data, and provide better feedback for students and teachers. He tells us that our practice is already data driven and this should raise concerns for open education research, particularly if that research focusses on static content. He warns that there is no visibility on how data is being used and that it’s important for the OER movement to understand and explore the algorithms in analytic systems. Algorithms are not neutral and if we can’t avoid the biases of the developers getting into the systems then we need transparency to mediate this.

So having written all this you may be wondering why this post bears the title – The Triumph of the Immaterial.

The reason is that this is the title of a clay sculpture by ceramic artist Phoebe Cummings, who today won the BBC Woman’s Hour Craft Prize 2017, with this clay fountain:

Screenshot from BBC Radio 4 Website

And this photo by Laura Snoad gives us a close up of the detail of the work

In this video Phoebe talks about how her work is temporary – making the raw clay sculpture as a fountain means that the water will erode the clay over time.

And in this short video clip we can see the effect the fountain of water is having on the clay sculture

For source of video see: http://alreadyshared.com/explore/medias/1632069198719374070_1663972413

In hearing that this sculpture (a piece of work that will no longer exist when the created fountain erodes the raw clay) has won the prize, it occurred to me that this may inform David Wiley’s 5 Rs of open content. Phoebe Cummings has created a piece of work that she expects to be reused, reworked, remixed and redistributed. She created it to be ephemeral, to enact its own performance and to no longer exist after a period of time, in this case the time it takes for the fountain water to erode the clay.

Phoebe Cummings has a unique approach and way of thinking about materiality and ownership and I’m wondering whether she has anything to teach us about open education resources and copyright. Maybe the success of open education will depend more on how we think about issues such as copyright and ownership, rather than what we do about them.

Thanks to David Wiley and George Siemens for the MOOC, and to Stephen Downes and Norman Bier for their videos.

 

#openedMOOC: CC licenses

In a recent post I mentioned that I have the attribution, share alike, non-commercial creative commons license on my Flickr site. I also mentioned that I sometimes get contacted with a request for use of a photo – usually by a tourism agency wanting to advertise their holidays. I know they are going to make money from their holidays, but I have never yet refused.

This week for the very first time I paused before agreeing to a request for a photo. This is the photo – an environmental sculpture in Cumbria, UK, where I live.

 Andy Goldsworthy – Tilberthwaite  Touchstone Fold

And this is a photo of the sculpture in situ.

Andy Goldsworthy is a well known English environmental artist and sculptor, who has worked on many sheepfolds. See this list http://www.sheepfoldscumbria.co.uk/html/info/list.htm  

This was the request I received by email:

Hello Jenny,

I am currently acquisitioning photos for a new Smithsonian Museum on Main Street (museumonmainstreet.org) exhibit titled “Crossroads” about the last 100 year change of rural America. It’s going to travel to 180 communities across 30 states and will be on view from 2018-2025. We came across one of your photos.
https://www.flickr.com/photos/jennymackness/27171284715/in/photostream/#

We would love to use this photo for our exhibit. If you would like to proceed, would you mind letting me know how you would like this photo to be attributed/credit? I will also send a license agreement 

I was puzzled by this request. I didn’t know anything about the Smithsonian Museum, so I looked it up and found it was genuine, but I didn’t know why they wanted this photo, which didn’t seem to fit with their exhibition. So I replied:

Thank you for your email.

The license I have for all my photos is CC Attribution-NonCommercial-ShareAlike. Could you let me know how you would be using this photo within the terms of this license.  I am a little puzzled as your exhibition is about rural America and this is the work of a well-known English Artist in rural England. How would it fit with your exhibition?

In principal I am happy for you to use the photo, but before agreeing would like a little more information.

I was concerned about how their use of a photo of Andy Goldsworthy’s work would affect him. Surely if they wanted to use a photo of his work, they should contact him.

In the event the museum decided not to use my photo, replying:

We have decided to not pursue this photograph anymore because of the outside range (as you pointed at, this art piece is in England).

Thank you for your time and I apologize for any inconvenience we may have caused.

For me this raises the interesting issue of whether the photo I took of Andy Goldsworthy’s work was indeed mine to put a license on.

#openedMOOC Week 3: The 5Rs, CC, and open Licensing

 This image is a screenshot taken from a YouTube video – https://youtu.be/x3CY6RR4uns

I have been working independently, i.e. not in an educational institution, for the past 12 years, so my take on this week’s content of Week 3 of the openedMOOC is probably not typical.

Much of the discussion is about the re-use capabilities of open educational resources (OER). Stephen Downes has pointed out that this discussion pre-supposes that you have access to the OER in the first place, and we know that quite often the resource is only accessible if you pay for it. On a personal note, I am currently trying to decide whether to pay for a  research paper a colleague and I are working on to be openly accessible in the journal we think is the best fit for the work! That could be a whole discussion in its own right.

But I have worked in a Higher Education institution and in schools in the past, so the issues being discussed this week feel familiar and, for those currently working in these environments, the course provides helpful resources to make sense of the difficulties associated with ownership of the materials produced when working for an institution. (See Week 3 in http://linkresearchlab.org/openedmooc/ ).

David Wiley has pointed out that the cost of textbooks in the US prohibits access for many students or causes them to drop out. Ideally students would not be required to invest in expensive textbooks, but instead use OER, which they can download, own and to which they can apply his 5R set of activities, which are:

  1. Retain – the right to make, own, and control copies of the content (e.g., download, duplicate, store, and manage)
  2. Reuse – the right to use the content in a wide range of ways (e.g., in a class, in a study group, on a website, in a video)
  3. Revise – the right to adapt, adjust, modify, or alter the content itself (e.g., translate the content into another language)
  4. Remix – the right to combine the original or revised content with other material to create something new (e.g., incorporate the content into a mashup)
  5. Redistribute – the right to share copies of the original content, your revisions, or your remixes with others (e.g., give a copy of the content to a friend)

Source of information: David Wiley – http://opencontent.org/definition/

However, he points out that it is not possible to apply these 5Rs to resources you do not own, such as a textbook. So what is the incentive for University lecturers and teachers to create their own OER? What would be the incentive to write a textbook and then make it openly accessible, free and re-usable in terms of the 5Rs? At many institutions, this would require a cultural change and depend on the roles that lecturers play and the type of students that the institution attracts. If a lecturer’s role is to teach adequately, bring in funding and raise the prestige of the institution through high quality research publications, and if the institution serves upper middle class students, then there is little incentive to spend large amounts of your own time creating OER. There is much more incentive for lecturers in institutions where the students will struggle to pay for their education.

On top of this ownership of OER can be complicated and may not be worth the hassle for lecturers. Norman Bier acknowledges that it’s difficult to know who owns the work if a large team has worked on it (See https://youtu.be/o6FWfFPpPeY ). He advises that if you work in an institution and are keen to promote the use of OER, then you should look up your institution’s IP policies and ask yourself (and others) the following questions:

  • Are traditional rights still being protected at your institution?
  • How do online materials factor in?
  • Is your institution making investments in building better course materials?
  • How are faculty being ensured the right to continue to use the materials they have authored?
  • How is your institution ensuring that educators and learners can make continued use of resources?
  • What happens at your institution if multiple educators and development teams want to expand on and improve materials especially over and expanded time period, e.g. years?
  • How can an open approach simplify these concerns while also making a larger contribution to the commons?

David Wiley suggests that we need to pull together pockets of individual practice and collaborate on the creation of OER which could then be further developed by future teams of collaborators. This would reduce the workload for individual lecturers and also mean that lecturers don’t have to keep reinventing the wheel. Of course, collaboration in itself is a sophisticated skill that doesn’t come easily to everyone.

I did wonder, whilst going through all the materials for this week, how much time David and George spent on creating these resources and how they managed to persuade edX to allow them to host them on an independent site. What’s in it for edX? And indeed what’s in it for them?

#openedMOOC Week 2: Copyright, the Public Domain, and the Commons

An infographic created by Shihaam Donnelly from http://www.jlsu.se/ict-in-school/ict-in-school-part-12-create-infographics/ 

This week’s videos and readings are a lot more interesting than I anticipated.

David Wiley and George Siemens introduce the topic in an informative three part video in which they point out (as does Stephen Downes in his video) that whereas in the past a resource creator had to register for a copyright/patent, these days anything that can be fixed in tangible form is automatically copyrighted at the point of creation and anything created is owned. As Stephen Downes points out, this begs the question of what is not owned – Ideas? Software? Algorithms? How does something come to be in the public domain?

This question led to a discussion of the meaning of the Commons and the idea that a resource can be shared in common, i.e. a resource is managed collectively by the community. For example, a village green could be used by any member of the community for the grazing of stock and collectively cared for by the community. The ‘tragedy of the commons’ is that they tend to become abused, closed and controlled by people whose self-interest works against the common good. This is not only seen on village greens and the like, but also in education settings even in those environments which claim to be open. For example people in networks tend to gather in groups/cliques which, whether intending to or not, can exclude. Elinor Ostrom points out that exclusion of beneficiaries is costly and that ultimately the short-term interests of a few are not in anyone’s long-term interest. It seems then that it’s likely that if we hold a resource in common, someone will abuse it and the question of ownership will never be very far away.

So the question, why should you share, remains an important one.  Why shouldn’t the original creator of a resource retain ownership of his/her creation? These questions stir up a lot of emotion and controversy as seen in some of the readings suggested for this week.

Karl Fogel has suggested that we should now be living in a post-copyright world. He writes:

But now that the Internet has given us a world without distribution costs, it no longer makes any sense to restrict sharing in order to pay for centralized distribution. Abandoning copyright is now not only possible, but desirable. Both artists and audiences would benefit, financially and aesthetically. In place of corporate gatekeepers determining what can and can’t be distributed, a much finer-grained filtering process would allow works to spread based on their merit alone. We would see a return to an older and richer cosmology of creativity, one in which copying and borrowing openly from others’ works is simply a normal part of the creative process, a way of acknowledging one’s sources and of improving on what has come before. And the old canard that artists need copyright to earn a living would be revealed as the pretense it has always been.

This stirred up a hornet’s nest with some angry responses in the many comments that his article generated e.g.

Sorry, I am a creative professional. I would, and will copyright my work. Yes I want to get paid for it. It’s my job why shouldn’t I? I think it’s dumb to just give away everything you work hard for. That is what you are doing when you choose to not protect your work. You leave it open for everyone including pirates.

I have cherry-picked from the comment here, but I think it illustrates that ‘open, free, sharing’ is not desired by all.

Richard Coyne in a recent post which I came across via my colleague Mariana Funes, discusses the criticism that the sharing economy has come under lately  He writes:

The darkest side of this sharing narrative is that consumers and the short-term contracted labour force are fed the idea that they are participating in a new democratised economic order. The sharing economy is just part of a sales pitch, and a way of dressing up inequities and dodgy business practices.

The first line of a Guardian article written by Stephen Poole in April 2016 is:

 ‘Sharing’ is one of the most rhetorically abused virtues of the age.

But Coyne in his post continues:

At best, it [the sharing economy] entails a raft of technologies and business practices that disrupt some of the usual ways of thinking about work, service, and the economy. That can’t be all bad.

He thinks that maybe the idea of a sharing economy is not served by naming it as such. I have also often thought that the idea of sharing is not well served by the language that is sometimes used to discuss it, e.g. sharing = caring etc. There needs to be more balance between the rhetoric and the reality of what ‘sharing’ means.

A way of retaining ownership and control over how, and under what terms your ‘creation’ is shared is through the use of Creative Commons copyright Licenses.  In a video created by Henry Trotter from the University of Cape Town (see Week 2 content), he points out that copyright can be different and mean different things according to where you live. David Wiley and George Siemens see Creative Commons licenses as a means of overcoming these differences and making the whole process of sharing resources a lot easier, since you then don’t have to seek permission from the original creators. I have a copyright license on this blog and also on my Flickr site, but I don’t monitor this and I’m not convinced that people coming to these sites adhere to the copyright license. I am sometimes contacted about use of my photos and I always say yes, even if the required use doesn’t match my license. And I know from the blog stats that some posts are used in closed courses, i.e. I can’t actually see how they are being used as I don’t have a password for the course.

But there are things that I don’t share. I am very selective about what personal information I share and I am very careful about sharing information in the open about my family. I find the common habit of openly sharing information about young children, presumably without their knowledge, concerning.  I also don’t often share research in progress, unless I am doing a public presentation about it and then I will put a Creative Commons License on it, but I always try to publish in open journals. I agreed with pretty much everything David and George said in their video about the nonsense of publishing in closed journals with no payment, only to be charged to distribute your own work.

For academics and educators probably the most difficult area of all this is ownership of ideas. Thomas Jefferson’s writing captures the issue so well (from one of this week’s reading). James Boyle quotes him as saying:

If nature has made any one thing less susceptible than all others of exclusive property, it is the action of the thinking power called an idea, which an individual may exclusively possess as he keeps it to himself; but the moment it is divulged, it forces itself into the possession of every one, and the receiver cannot dispossess himself of it. Its peculiar character, too, is that no one possess the less, because every other possess the whole of it. He who receives an idea from me, receives instruction himself without lessening mine; as he who lights his taper at mine, receives light without darkening me.

This makes perfect sense to me, but it also means that I need to be circumspect about the ideas I openly share. As my parents used to say to me – ‘If in doubt – don’t!’ Sharing is a choice – hopefully an informed choice.