This evening I am at a talk by Henry Jenkins, notes will be tied up but here’s the raw form live from my iPad:

David Gauntlett is introducing us to Henry Jenkins, Professor at University of Southern California, prior to that he was at MIT and he is in the middle of a European tour around his new book Spreadable Media which he will be talking about today…

So I’m in this sange place where my book is in the publishing process and won’t be out for months. As a blogger I’m used to being able to post stuff up right away and I always fear my books will be out of date by the time they are published.
My last book, Convergence culture, came out about 6 years ago. Since then… Second Life arose, kind of declined again. Niche media and audiences, the long tail became more prominent. Social media has grown hugely, become prominent, YouTube and Hulu have appeared since, into Twitter. Web 2.0 was still being thought about by Tim O’Reilly and others. People ask me if by convergence culture I mean web 2.0 and I say no, we’ll come to that later.
Spreadable media is about looking at consumption. We wrote a white paper called “If it doesn’t spread it’s dead” [part one can be read here]. Joshua Green and sam grew and I transformer that white paper into the book that will be out in the autumn. We also talked to ex students, businesses, contacts. Much of this will be made available freely. And we hope the book is a provocations, the beginning of a discussion of where social media is taking us. And this Turks abOut that discussion. And my tour started early enough to coincide with occur wall street… People were there as zombies, as games as thrones characters.. The occupy sesame street protestors, super hero protestors. Protestors adopted and remixed popular culture, this stuff spread and snared across the web in the way occupy wanted to do.. It met the goal of provoking debate, discussing equality of opportunity. How it engaged a variety of populations and what they talked and thught about inequality in America.
This character is pepper spray cop. This could have been a small local image and stor bt the remixing of images we’re circulated, making t a memorable issue and widely distributed.
At the heart of Spreadable Media is about distribution, grass roots communities as the heart of how material spreads. Corporations routnelytme releases of media – doctor who or Sherlock taking moths to reach the us for instance. But, let’s bracket piracy off for a moment, and think about how else those media artefacts circulate. This book is about hybrid circulation- producers and others sharing and distributing.
I don’t use the word viral, it suggests a lack of agency. See Neal Stephenson‘s quote and theory on viral media in a nutshell. It lets those in control think that they have this killer virus and t.hat this stuff will just spread. Let’s of baggage removing agency here. We call it spreadable media… We don’t care if you think that sounds like peanut butter… We think it works as an alternative to stickiness and a deliberate contrast to “viral”. The generative aspects of circulation is what we are interested in. A social and cultural model of how information circulates on the internet.
Kony 2012 is a video created by a group called Invisible Children. We had been study them for about eight years. One of their videos went viral, was spread widely much more than they expected. They ask us to spread the message… But in 4 days it got 70 million views. The biggest US tv shows get 40 million viewers.  It reached more eyeballs more quickly than anything on US TV or in US theatres. They expected to get around half a million viewers. The result of that many views was tragedy, one of the filmmakers had a nervous breakdown. They had been making these for years and had a reasonable idea of spreadability but this film totally exceeded these.
SocialFlow looked at words in Tweets that spread the video… They targeted celebrities and you that here. We have cities like Dayton Ohio… Not the big cities for these things usually but where groups were active. A wordless of those tweets we see words like Love Life bt also multiple constituencies come in – schools and colleges vs church groups.
The whole critique of activism/slacktivism is watch a thirty minute video on the internet become a social activist. But in this case there were already students here who were already protesting, it didn’t emerge from nowhere.
Georgetown University looked at social activism. Those who frequently engaged in pro optional social activity are likely to take further action on behalf of their cause. There is some sort of political effects,the networks are shaping she media landscape bt by reporting This spreadable media they have a big impact and spreadable media is increasingly having an impact independently.
Depending on which numbers [of various stats shown on screen] believe we are seeing a pattern of engaged in promotion and acts of circulation of news and information. We get more and more of our news that way and we need to think about how that shapes our worlds.
Cory Doctorow says that part of the reason we have current copyright laws is that we are mammals, we reproduce only a few times… We need to think more like dandelions, spreading things widely, some will succeed, some will fail. An author or a media maker needs to think more like a dandelion and trust people to find media and circulate our work. Doctorow puts that into action in his own work… He thinks as an author that he is at much more risk of obscurity than bankruptcy. And he shares all of his books under Creative Commons licenses and has reached the best seller lists. People know who he is, they know his work, they are happy to pay for their copy.
E.P. Thompson talks about ongoing social and moral systems and he talks about the centrality of trust and the threat of instability and of changes in economic models. We see messages that “piracy kills music” but people say no, “sharing is caring”. We are at a time where we will see lots of to and fro. Sharing is the core factor in social media – how does that connect to traditional economic models and cultures, right now one side is frightened of free content, the other is frightened of free labour (Facebook using our data say).
My issue with free labour is that circulation is part of a gift economy. If you had a hot date and someone left you a £100 note you would feel pretty weird and bad about that! You cant just insert cash into this type of equation.
The framing of an action is crucial here, it changes the nature of the action and she social signifiers. I buy a bottle of wine, take it home and remove the label I’ve changed that commodity into a gift. And giving t to a friend if that friend told me off for paying to little he’d be a bit of an ass. There is social value here, gift value, it’s a complex set of meanings we attach a sharing action. We can connect this to other work on gift culture, we refer to Lewis Hyde in the book.
Sharing can lead to warm feelings, can justify the act of sharing. See this LOLCAT that will look like John Lennon to over forty year olds, Harry Potter to those below. This is cultural studies 101. People have their own cultural frames. You are not servicing the advertiser you are instead using the ad for your own conversations.
Joshua Green put a diagram together of the evolution of the LOLcats, someone has put together something great on this talk around lolcats etc.
Anime is a really an interesting example here. Mimi Ito talks about the growth of anime. The fan culture generates value and builds the market through the circulation of illegal copies through fans, piracy builds the market. Then companies step in and engage… This happens more and more.
Religion is also invested in sharing here.they have a mission to spread the word – if someone steals a bible is that theft or is that spreading gods work? Their models give us something interesting to hind about in terms f spreadable media
Independent artists and filmmakeers can connect to audiences without engaging with gatekeepers,through various crowd sourcing ventures. Shines like kickstarter which funds things through very interested communities. Lost zombies is a similar idea, a crowd participation project. DVD the third stage here is brave new films activist collection – they gather fans who commit to see a film as a way to get a theatre screening. This changes circulation, creates stronger bonds between audiences and creators. It works. Enter for some than others. Those making low budget, zombie, sic if films flourish, as these a
Have established fan base. Those fr minority communities, African American audiences, Asian american audiences, LGBT audiences, they are u deserved and kee. To see media abut the, but those missed out are innovative esoteric filmmakeers.
Now going back to web 2.0. This is a business model. Participatory couture is different but they are two sides of the same coin here. Web 2.0 companies have friction and tension with their communities and users. We want participatory culture, we shouldn’t try and adopt the web 2.0 label. Web 2.0 began in 2005 but social networks many many years before this, before the web. We had kids making a form of zines protesting slavery etc. because its hard to set type they used abbreviations… Including LOL, the practice and logic does connec up. The a auteur radio fan communities. The early sic if communities. Undergrad news in the nineteen sixties, new media in the nineties. Allow these are stugges to control and shape the nature of our culture of our consumption. This relates to commercial companies by tus a struggle.
Brecht critiques radio for being one directional and advocates participatory culture. Youll note that I talk about More participatory culture Rather tha participatory culture. We have people who are nt taking part, there are more people who need to participate.
Hans Magnus enzenberger in 1970 talks about copnstituants of ratification culture. My mentor john fiske’s last book understanding popular culture says that new tools create new challenges, it doesnt guarantee any so  outcome, good r bad. Participatory culture is worth fighting for but we have to mansTain a distinction from web 2.0
Looking at political use of a participatory culture. Here we have palemtian protestors… They regulary do protests, film them and sharing… Fr instance they painted the selves blue a la avatar and filmed his. Yo can view this critically or positively. This group harnessed popular culture for triggering debate and I choose to see it this way, but you could see this as a negative
Trend. Although there are long histories of dressing as other cultures in protest so that does
Superman comes ut: “I am superman – and I am undocumented”. There was huge debate about this, complaint about changing supermans values. But his story is of passing, f secretidentity… superman is a great playful way of evoking protest.
This is the Harry potter alliance… They look at what is evil in our time, how do we change the world. This is a decentralised network of crisis on all sorts ftopics. Ad they are now moving on fromharry potter, they launched a campaign around the launch of the hunger games. Asking fr do Atkins o Sco hunger. They received a cease and desist  letter from studios, they published it online and the press coverage per press release meant the film company backed down, lions gate films approached them and asked what they could do…
So with that I shall stop…
DG: we think of ourselves as thoughtful critiques of these things. There is a new book by Natalie fe town and colleagues called misunderstanding the internet which does just that.. They skewer twitter as being only consumed by middle class’s… But so are academic books and endpapers… So… What are responses to critiques who see you as a technological determinists
HJ: wel. I was at MIT for 20 years, I know technological determinism wheni see it. You have to startwth social and cultural contex John has a quite that everyone in the middle ages had a larynx but tall were allowed o speak. I want to think abut education, resources, cultural empowerment. In the us about 95% of youth have technology access but far fewer feel able to use this in meaningful way. I am pro learning here.
DG: we had a debate on your Blau about how much of this is remix and fan culture, not original creation
HJ: one of your colleagues was criticising the lack of original creatin work compared to most peoples activities. But spreadingu can be a creative act. The most rapidly growing spreadable content is amateur mati
Email.the spreading is meaningful, nt justnriginal content creation. The idea of voting with your feetisnt meaningful if you don’t pick what’s on the table but increasingly we are curating from a vast array of media of all types. People are watching the world through the eyes o people who now they can participate, who know the can when they nt to. We need to get rid of structural barriers to participation. To provide support for those who are not yet waiting to participate.
Q1) can I go bac to the idea f viral vs spreadable. You said that you don’t l,e viral as it lacks agency. But is agency not ore subtle tha that. Can it nt be Interrogated more.
a1) absolute,y but starting with the idea that there is no value of agency, a model like viral is the wrong way to go. Richard Dawkins idea of a meme is a productive term – I’ve been persuaded by communities like 4chan. We must stifle the idea of increased democracy.
Q2) I’ve seen stats that professional content on YouTube has vastly I creased and bloggers are being encouraged
A2)  talked about the withering of mass media but it’s not going to happen… It will not be the only media. In the us YouTube has made more Asian stars by far than traditional media. You nan read that several ways but I don’t this circulation will dispose distribution but will sit side by side. We need both very often, but the bottom holding the top to account.
Q3) I wanted to g back to the Facebook quote on sharks brands. I was wondering about the tre d for sort of social commerce – commercial I ce gives to share things.
A3) this is a thing people are calling AstroTurf, a fake grassroots system. But it’s interesting top me that rands that have the money to advertise are desperate to pretend we have bottom up power… I think this is a transitory a trend… In many cases this stuff is exposed, but it really shows the shift in power. Grassroots is powerful enough to meant to fake it.
Q4) I have a question about methodology in exploring ways in which participation takes place?
A4) this book isn’t about theory and methodology, it has a Gow to trigger discussion. I tend to discuss methodology a bit separately. I use social media mapping and visualisation here as Kony 2012 this works well and backup our own research work. But we are currently doing 50 interviews with community participants, pretty much ethnographic approach. Book just out on net organs is about a pretty large eth Gorky dog web communities. These are the kind of toos that I find helpful. Yo really want to combine qualitative and quantitative approaches. Looking at meaning and social implication s aof acts of sharing.
DG: with pepperspray cop we have a creative clash of great seriousness with silly funny playful materials…
HJ: i think pepperspray cop is the community equipment of the editorial cartoon, a way to make something satirical and me oracle, sometimes you laugh at black humour, sometimes informed by actual issue. Jason ? Has the notion of drillable to complement spreadable media as an idea.the Palestinian a avatar protestors had loads of information on their website to drill into. One of the issues for invisible children was that they had taken down a lou  of content on the website ready for the new campaign so there was very little to contextualise the video. That need for drillable context is something I tell activist groups to think about.
Q5) how do hosed these changes and leanings culture?
A5) well I have another book coming out called reading and participative culture and have worked with the. Arthur foundation for years and have a white paper I’ve writte. Further open participatory learning. E are designing a digital toolkit for teachers to share successful learning motors via social media. W are dong a lot on that space right now. Making learning relevant to Lear era, bringing what is outside othe schoo, into the classrooms to allow p
Collaborative learning. In my country schools tend to block participatory media and that kaes it impossible for students t engage in those sorts of environments. This is usually justified as protection for children, but I what wa does blocking access he them. Sure.y better to support and improve digital literacy. My colleagues says most young people lackan Nile me for. Blocking social media leaves stude ts more ilnerabe than before not less. S we bring participatory Media into the classroom we connect students to the world around them.
So… Some chapters will be coming to the website in November as the book comes out.

Today I am at the Designing for community-powered digital transformations workshop at Tate Britain, London. I am live blogging but there is no wifi so this could be a bit glitchy as I’m working with a 3G dongle.

David Gauntlett

I’m running this network, an AHRC funded digital transformations network that we are running. This is the third out of four events we are running. Associated with today we have a talk by Henry Jenkins this evening.

Wifi – sorry, there is none and that is a bit embaressing. Sorry about that. Will be coming to Tate Britain soon though.

This morning it’s a bit more cultural sector, this afternoon is more university related. Jen Bailey will not unfortunately be able to speak today due to family illness so we’ve rejigged the schedule a bit.

Speakers include:

John Stack, Head of Tate Online - a brief history of online participation on Tate Online

The Tate Britain, Modern and St Ives holds the nations collection of British, modern and contermporary art. The key part of our mission statenet is that our role is to increase the public’s knowledge, understanding and appreciation of British art rom the 16th century to the present day…

Historically that’s mainly been through exhibitions but increasingly thats online. Those exhibitions tend to be rather monolithic with one voice and a role as broadcaster. But we are moving to something much more open, representing many voices and engaging ar more in dialogue. We want the museum to be a place for dialogue and debate with many voices both within and outside the museum.

All of our 70,000 art works are digitised. The site gets about 1.1 – 1.9 million a month (depending on big blockbuster exhibitions, holidays etc). This makes it the UKs number two arts website. The number one is the Arts pages of the Guardian newspaper website. And we have won 3 Webby awads, 2 baftas, 3 museums and the web: best of the web, 1 BIMA etc.

So the website is really on a journey from Brocure to Channel to Platform. The site launched around 1998. Around 2003/4 ish we were becoming that idea of Channel – really thinking of thoe online visitors as an audience and the gallery being our big space but online being a discrete channel with original content like films, papers, etc. And our website redesign moved us to being a space where things happen, where audiences and engaged and involved in our activities.

If we look at that first website the navigation is basic, and very much about the physical space, the copyright notices, online samples to physical content, even a site guide. Looking at 2006 you start seeing channel content emerging – collection at the tipm, research is appearing online and our scholarly journal, online courses and interactive learning resources, young tate – special site for young people also Tate kids area, you can start to see all these resources begin to emerge. But these are still items we produce for you to consume. Moving onto the beginning of 2012 we can see the rejig before we launched it – it’s an updated version of the 2006 model.

In general in Tate we are starting to hear a lot of use of “engagement”, “participation” and “interactive”. But who does that? One of the challenges is that everyone does… from Marketing, communications, learning, curatorial, research, huiman resources, national programmes… etc. It’s not just posters and advertising anymore. It’s social media now, things that are viral, things that are engaging to people and encourages sharing with peers. And how do we get key messages about Tate out into the world. The learning department are moving from captions on walls and talks in the gallery towards active activities that facilitate learning. Curators, especially younger/newer curators are really interested in blogging, in social media, and in use of these tools by artists as well as for communications. Our research team are interested in research projects being blogged, being open throughout. The Human resources team want more ongoing dialogue, ways to find those people who may want to work here, to have those people engaged and aware of opportinities. And our national programmes, work with partner organisations are very much about social media about community engagement etc. So all of these people are starting to look like each other a lot more and use these key terms. So on the one hand we have to facilitate that and do that coherantly.

So our currect website is better than the old one… One of the key things to point out is that the lead thing on the home page (btw only about 7% of visits start/go there but everyone obsesses about home pages) is not our current exhibits but is about a core piece from our permanent collection and an interpretative text authored in a personal way and with comments enabled.

So what I’m going to do is romp you through the last 4 or 5 years of interactive projects at the Tate and we’ll maybe send David the links and get them up on the blog.

Tate Britain ran an exhibition of modern photography called How We Are Now – we are not known for our photography collections, something people associated much  more with the V&A. There was a desire to put that message across of the Tate as a place to engage with photography. We were asked for a web mechanic for uploading and sharing images. We decided not to build but contacted Flickr. We let people upload around 4 pictures each and had thousands in. And we showed these on screens in a sort of virtual gallery that contributed to the narrative of the show. It was a big success.

We then, after an exhibition at Tate Modern looking at street photography, did something similar and then had artists curate 100 photographs which we then used the print on demand service blub to create a sort of “alternative catalogue” (though not allowed to call it that) and sent that out to the 100 people that had contributed.

We also did a project with Threadless. We had an exhibition called Pop Life at Tate Modernn. We asked young people to design a T shirt inpired by the exhibition. We used Threadless as the platform for that and then a curator selected the winner and the t-shirt was sold in the exhibition shop.

We had an exhibition on the Vorticists and we did a project with Creative Review. We asked designer to give their take on the Voriticist magazine Blast. We did that with Tumblr. Again the curators selected a numbe rof images fo ra limited edition posters and gave them away at one off events. Again we used an existing site and community of that site and our own community… and a physical manifestation back into the world.

A few years ago there was this turbine exhibit – a post apocolyptic world in 2058. We asked the public to submit a short story inspired by the theme or the exhibit. We posted these on a sort of blog. With image projects we’d get thousands but here we had 99 contributions. Again we had curators pick 6 of these and you could download these as an audio book narrated by Christopher Eccleston.

Ai Wei Wei created a piece for the turbine hall at Tate Modern and he’s very active on social media. Under the stairs in the gallery we had an interactive space where Ai Wei Wei would pose a question and you could respond and engage with them or ask him a question – and he would send video responses (we sent him a laptop and webcam). When the health and safety concerns about walking on the exhibit arose that became the key topic. And then three quarters of the way through he was arrested. In total we had about 25000 video recordings and a website where you can view these, look for responses etc.

This is our Tate Kids website – our award winning site for children. Children can create a profile on there, they can upload images of their work and display it. It has, for obvious reasons, got only limited community/social media functionality but it means we display and engage with others art ere.

Tate Collectives is a site targeted at young people for challenges, image competitions etc. to engage with these audiences

 

Turbinegeneration is a mainly closed space for school communities working together – much of what happens with this space is behind the scenes.

 

Hello Cube – part of the yarrow Tohama exhibition. There are boxes you can put your hand inside it if you are there. But if not there in person you can tweet it, give it instructions. It responds to your instructions and takes a photograph and tweets it back. It’s a kind of artwork interactive thing in the gallery.

 

We are increasingly active on Facebook, Twitter and YouTube. Much of this had been led by the web team. We actually have @tate only because of the enthusiasm of one of our staff members early on which is great. We get feedback and reviews via social media, we ask people to do this. On Twitter we started, one friday, the hashtag “#artweekend”. We contacted galleries we were working with on touring programmes and asked them to recommend things to do… and lots of others joined in as well.

 

A more fun thing we do is “#artfilmtitle” – puns on film titles with artist names.

 

Returning to our main website we have rebuilt it from scratch to really enable interaction, comments, etc. We now have weekly debates on a Thursday – may or may not be directly relate to Tate. And we push those out through social media. Increasingly we are also trying to use things like blogging to get those who hold the knowledge to share it. I can update the website but people really want to hear from the curators, they really know the subjects. We try to get them to write about commissions, new acquisitions, etc. The marketing department like it and we like it as it helps us take the website to that platform place.

 

The Great British Art Debate – this is a project with 6 other museums and is about touring material and it aggregates activity on a blog, YouTube, Flickr etc. It’s a hub to those various spaces and discussions.

 

BMW Tate Live: Performance Room – This is a space online dedicated to performances. An artist comes in and it is livestreamed through YouTube and commentary is received back. Some artists are nervous about this, some are actively enthused.

 

Art Maps is a project about taking art out into the world. It’s shifted to being more about user generated content, phones etc…

 

So, what have we learned?

  • Keep it simple – you need to be able to communicate in a single tweet
  • Go to where the audiences are – this is why we use social media
  • Give a good incentive – at various points in the Flickr project we’ve had comments that say that “this is a cynical way to get more content” – we don’t need more content but we do want to engage
  • Set a timeframe – this is really important, increasingly in the web department. One of the ambitions we have is to get far more engagement around the Tate archive and how we’ll scale up to do that is one of the challenges for us
  • Allow time for community engagement and moderation
  • Have fun!

 

And some questions

  • Are you impacting on the brand? Yes, and you need to be fine with that. Our brand proposition used to be “look again, think again” it’s now “look again, think again, join in”.
  • When we have all that contributed content online where does the authority of the museum sit now? What if you get contradictory comments? These challenges are coming to us…
  • Who in the organisation is undertaking this work? Web team? The whole organisation?
  • How can activity initiated from multiple departments be joined up and transformed into a coherant user experience?

 

Q&A

Q1) How do you evaluate these campaigns? Is there a way to measure the return on investment?

A1) Good question. Historically it was measured in visits, dwell time – these were the metrics. These still count but engagement and interaction is much harder, much more qualitative. 500 comments saying “yes cool” vs 3 scholarly comments aren’t really best measured by number. We’ve taken the stance that we will do these things. We are not really asked to justify this work. But there was an Action Research project by Culture 24 called “Lets Get Real” looked at measuring engagement around these kinds of activity – a kind of suite of metrics that need interpretation as well as qualitative surveys.

 

Q2) Curators selecting the short list of items vs public curation?

A2) One of our projects on Flickr, there was a discussion on the boards saying that these pictures selected by the curators were “boring” pictures. And there was a whole thread of people sharing their own favourites. It wasn’t a philosophical thing but we saw this as a project not a contest so there isn’t a sense that one is more valued rather than less valued.

Q3) I am interested in your collaboration space here and how you encourage that….

A3) One of the things we have talked about but haven’t properly done is about more group activities and the possibilities of online group activities. And functionality needed for people to form their own groups.

Q3) And the issue of how long you keep that up…

A3) Of course one of the key issues for us in our space is around copyright

 

Jake Berger, Programme Manager at The Space, BBC – The Space: A Creative Adventure

This is a new joint project from the BBC and the Arts Council and I have a quote here that nicely sums up what it’s about. Art on TV.Documentary can be like a guided tour rather than an experience of that art so this is an attempt to address that.

Our gaols are to build digital capacity in the arts, to support digital creativity and experimentation, to connecti arts organitions and others together, to create a lasting legacy. We had a challenge as we began this project 9 months ago and built it in 6 months… but what were we going to build? We wanted something to offer navigatiuon that provides easy access to the content both when the system is relatively emopty and as it expands to offer manu hundreds of items. We wanted it to be simple but collect lots of data that could enable more complex navigation. We wanted to keep the design simple – we wanted the content to be more exciting than the box!

We chose one brilliant UX designer and one brilliant graphic designer and asked them to “do all the things you’ve alwauys wanted to do but we;re never allowed by your clients” – so we had Vibeke Hansen and Caroline Smith working on this. We wanted to create a system that brings artists to audience and brings art to all sorts of screens and devices – managed and maintained at minimal ongoing cost. We wanted this to have information about the meduaa entered directly by organisations themselves into a custom web tenmplate – so they have the control directly.

So we have thesopace.org. This is globally available, free, big names and emerging companies, visual arts, music, theatre, dance, festivals, poery and literature. There is and will be new material throughout the service. It’s lightly curated and moderated. And we have live output from major arts events. And there is video on demand, audio, images, text, games, etc.

The current site changes 7 times a day and that content is growing and growing. And you can access the site on your phone, on your web TV, tablets, smartphones, etc. and an app for Freeview HD 117. And we have various projects such as the John Peel room which you can go online and explore. And the Listening Machine – a realtime stream of 5oo twitter accounts build by Goldsmiths University with the sound created based on sentiment, subject, etc. The samples were played by members of the British Symphonia. This will be available until October so producing a 5 and a half month long piece of music…

We are also putting up High Definition filmings of the Globe to Globe season of 37 plays in 37 days. We have content from the Tate, from the BFI. We have a Beginnings series on the first films of various directors for instance. We have Will Self thinking about reinventing the literary essay. We have some Tate Shorts to view.

We have 2 developers, one systems engineer and 2 designers but at various times we have said no to others at the BBC because of how we want The Space to work.

We will be available across four digital media playforms – computers, smartphones, tablets and smart TVs. We will also be on the community channel. We are also using social media tracking and promotion technologies and personalisation and recommendation features to refine the homepage to your interests without you having to register.

So the technology principles here are that the Space builds nad extends the capabilities of the internet – not just the web. It is build around iopen technologies and designed to work seamlessly on as many devices and browser as possible (HTML5, javascript, CSS). There is no app, only web apps – the thing with apps is you need a new one for every phone. We have a website with app like functionality which is harder to do up front but easier to maintain. We take the data, it goes into our content management system – a hacked version of WordPress – and we put content into a transcoding process to make video work for multiople devices. And we are using pay as you go cloud services for storage, hosting and delivery. We don’t use existing BBC technology or infrastructure.

At the end of the experiment we wat to hand thespace.org to ACE. Open source the technology to create a “broadcaster in a box” that can be used and build upon by a wider world. And that code will be shared under Share-Alike so any improvements are shared with the world.

In theory so long as the CMS is extensible we shouldn’t have too uch trouble storing all of the required metadate and content. It’s portable across different cloud providers, it’s sharable.

We went live 2 weeks ago. We have a small back office system. And we think we’re working quite well with the contributor organisations and we have had some nice comments and good numbers of views (over 300k views in 2 weeks).

There are grant funded commussions that are at the heart of TheSpace. We had 743 expressions of interest in these grants. 116 invited to apply. And some increadible things were suggested. 53 got grant funded commission s and a handful of direct commission. These include 37 Shakespeare plays in 37 different languages, Stocukhausens Helicopter Quartet, Revirth of BBC Radiophonic Wrokshiop, D gaming environment, 2 lost Hitchcock films from BFI… all are listed on the website.

So, evaluation? Well constant evaluation is integral and essential to this project. We are using a BBC and Arts Council frameworks to assess Quality, Reach ad Value for Money.

 

Q&A

Q1) It’s a very nice project and you seem to be doing all the right things… But it’s still a broadcast model around a data keeper

A1) Editorially the Arts Council are in control. The production and delivery method is fairly broadcast-like but they send it to us via Dropbox.

Q1) Yes but the creative input and interchange with the audience?

A1) Yes, that’s a very good point. We haven’t got social embedded onto the site. The reason is that for reasons up to this point is that the BBC is very cautious about personal data and has very strong position on content moderation. We couldn’t have built the infrastructure using cloud services and maintained that integrity. And we couldn’t afford to moderate the social. So each item can be posted out to social spaces but comments come back through the individual arts organisations and if they want to push back to us they can. It’s purely pragmatic reasons. Everyone knows that this is a missing element but that’s where we find this.

Q2) YOu are bringing artists to audiences but what are audiences bringing to artists. And what audiences do you want to reach out to?

A2) The social bit is currently missing but it’s only 2 weeks. We have until November. But there is all sorts of content there. We do not mean to ape television. We want it bigger, more open, more dialogue. We are only 2 weeks in. But we don’t want to mimic Sky Arts of BBC Four. We want to open out in every way. Television is very expensive editorially. Art in its many forms isn’t neccassarily something 2 million people want to watch. That’s the creative opportunity here – to reach out to those who are going to be interested.

Comment  from David Gauntlett – we did invite The Space partly because this is a sort of midway between a totally open model and a broadcast model. It’s doing something different.

Q3) You rushed over the evaluation slide, could you say a bit more

A3) There will be a conference in November and the evaluation will be taking place around that. And I know the Arts Council is keen to share as much of this experience as possible.

And now… the breakout groups…

So, we have reunited for reporting back.

The User Participation discussion decided to compare theSpace vs the Tate. We felt theSpace is quite like iPlayer or Flipboard. Not really a user participation model. And then we talked about the potential for the Tate. We also talked about the British Library crowdsourcing soundsscapes from the UK – similar model to some of the Tate’s projects.

And we talked about  RunCoCo – a model for participative curation. And about co-curation potential, resistance. We heard about the National Maritime Museum Flickr Commons space. And finally we looked at crowdsourced content that gains a bigger audience – a project in Manchester was discussed. And we wondered is participation online enough or does there need to be something more that shows there is a bigger audience for that work.

The Designing a Multiplatform Community for Online Participation group [the one I was in] really fell into two areas. The idea of the branded community, the organisation reaching out into different types of  community and platforms. And the self-regulated community with perhaps more risks, artist led projects, fan projects etc. We had quite a lot of examples of how this had happened in practice.

The Governance group talked about theSpace model, that this is like a stage. And we talked about the audience exploring, discovering things and constructing community. Shift to focus on process rather than product. We also identified a tension between ownership and copyright. How do you give things – content, discussions etc. back to the community? How do you define that community? There is a lot of fear of what is and is not allowed. Risk taking is a particular issue for bigger organisations. International, legal and copyright frameworks are all important here. I think we scratched the service here perhaps. We did talk about trust, moderation, how you manage user contributions, quality, etc.

And a break for lunch… and we’re back…

Martin Rieser, Professor of Digital Creativity, De Montfort University – Mobile Communal Creativity

Spatialised technologies. We now have this amazing ability to map information to the physical world. It’s about social interaction with a specific place and connects to memory and rehearsal.  And we are starting to see these as augmented technologies. This idea that life if augmented. And a quick plug here for The Mobile Audience which is a book looking at the changes since the mid 90s.

First of all we need to talk about the subjectivity of mapping and why we need to beware of spatial data. We can look at colonial bias. Or we can look at population mapping or time mapping (why Stranrare is not a great place to be in terms of time). And scaling Google Maps shows us how inexact they are. And we are also inexact creatures – if you look at a map of the senses/sensitivity of the human nervous system for instance.

We have done a varierty of projects here. The Riverreins project gathered local history and we used Layar to do this and also used QR codes for all locations. And we posted stickers of QR codes on the buildings to which we had connected stories – provided as voice overs and videos. And we wanted to get the community to upload their own materials to add to this.

We also did a project, Codes of Disobediance, in Athens where we looked at street graffitti,. We went out into the community and asked a number of questions to people there. We again used stickers related to place. And you could walk down the street and get popular voices talking about living in the crisis etc. It is online (though all in Greek of course). And a lovely example here was a poster made by kids that we were able to put a QR code. We also put a sticker up at the space where a young man was killed by the police and which has become a kind of shrine.

Greenview. This project is about green energy. It’s difficult as it’s a concept, it’s not a visible thing… We did a Widget project for your computer showing energy use. But we wanted to do something more interesting. We created a cartoon ecosystem – visualising CO2 on a street, we had an energy changing week. We know this doesn’t change behaviour but that infrastructure is useful. And we were then inspired by Tamagotchi. We created a little animated city where you can take ownership of energy use. We are trying to roll this out to Leicester schools now.

This project and others can be found at: http://www.pervasive.org.uk – Pervasive media site

Crowdsourced cycling routes of Leicester. You could record your routes, your thoughts on the best ones, and we are now completing a second phase on this project where other content can be contributed. And very much using the Sustans model of creative cycle routes. We also worked with commissioned images projected onto large buildings in the city.

Roman Leicester – this is a cross-disciplinary project where objects can be connected to a map interface/AR and then those objects can be interrogated. And a second phase will allow local history groups to add their own thoughts and comments. We have created virtual buildings and characters to interact with. And the kind of interfaces we are looking at are iPhone map and augmented reality type materials.

And I really wanted to talk about the potential for mobile and locative media and the possibilities for using local knowledge and specificity. The relationship to location is absolutely essential to that process particularly for mobile media.

Q&A

Q1) I’ve been working on a project in Manchester also looking at mobile. Thinking about changing the relationship with the city and the institution.

A1) That’s very much the idea of what I’ve been talking about. The original RiverReins project was done with Manchester but it was too early and it was hard to find funding. People have trouble imagining how these things will work. But the idea of the city as a series of layers to explore is really key. I’m really looking forward to Augmented Reality at the Tate.

Q2) Do you see a big difference in how people use these tools? QR vs Layer say.

A2) With layar you can look around, you can relate these to the landscape. When we started using this layar was a very new idea. I think QR codes work well for specifics – easier to directly grab information as you needed it.

Q3) Did you check 3G access on these specific streets?

A3) We did for these yes.

Q4) How did you evaluate these?

A4) We used PhD students for this and we used exit reviews and also user behaviours. A mixture of qualitative and quantative. And we also wanted to know how emotionally engaged people were with this material.

Q5) What impressions do you have of virtual participants?

A5) We are getting some work done to improve the upload for some of these projects to encourage more participation.

Q6) Does this link to Digital Leicester?

A6) Yes, there are links.

Claire Ross, UCL – Putting the Visitor First

So, don’t we do this already? There can be a real built it and they will come kind of attitude. I am going to talk about User Centrered Design – we are really big on this at UCL. It’s about finding out what people really want. Using evaluation and data to really inform decisions. Why do this? To give the user ownership of this.

Principle 1: Put the user first – support their needs, goals and values. We do know about institutional needs goals and values but how do those relate

Principle 2: Keep it simple. Do one thing simple and well

Principle 3: Be consistent

Principle 4: test with users from the beginning and again and again…

Principle 5: test again

This goes with another concept: Agile. There are four core values around Agile all of which focus on the user, on usability, on user feedback and on planning improvement. And there are further 12 principles here. So…

I’ve been working with the Imperial War Museums – most is in London but there are five museums and an online presence here – and I have been using User Centred Design and Agile processes with social media to augment the collection. We have a gallery booth, an online space and mobile access to create some viral spread of content, visitor interpretations of the collections, discussions etc. That’s the minimal number of spaces we need to be in for this to work.

Team work is central here – there needs to be buy in from the team for this to work, and from absolutely everyone. his is a hard task. We have a project board – from DG of IWM down, we have the project team creating this social idea, we have an advisory panel and a number of researchers. We have work streams, we have developers, desiners, testers. And crucially we have visitors – they are part of this project in a core way.

Agile in design – we have milestones for all areas. We have clear delineated progress plan. and part of the idea here is to deliver frequently – we are delivering prototypes in iterative runs that allow us to try, test, feedback, change and move on. This gives you the freedom to make mistakes, understand and correct these. Many of these projects are online but face to face is a more efficient way to work. Questionnaires I hate, interviews and focus groups work much better for guaging what’s going on. Measure software – having knowledge of use earlier lets you tweak early. Keep it simple – you have to focus on and build for your users. Don’t waste your own or your visitors time. And you have to evolve your design… and test these all.

So if we have a look here you’ll see sketches on an iPad or piece of paper – people will give you a quick honest opinion. And we then took draft designs to users. Tried again, tried again… we had about 6 iterations and we now have a working model in gallery. There is still lots to do. This comes back to the idea of user tested design. Users need to be embedded at every point in the design. Social Interpretation is a one year project. It is easy to launch once and do feedback in that time but to be successful it’s much easier to consult the users earlier on, they can feedback before you have built a product.

If you want to do this you need to be Agile in your project management. Tight scheduling and limited funding can make this particularly challenging. By looking at the user and asking them questions you can work quicker and more efficiently. And you really have to welcome change. That’s really important and  you have to respond to change quickly. And you also need to reflect regularly. But you also need to maintain pace, keeping an eye on your objectives. Be steady without stalliing.

So how does this work in smaller museums? Well we’ve done something smaller at the Grant museum of Zoology. This project is called QRator. We are looking at how digital labels can create new models of public engagement. 10 iPads around the museum host provocative questions and users can respond and these codes are displayed next to objects – when browsing the museum you can take part in this, to browse this. We have also evaluated what people are saying and why they are saying it. We had 2700+ contributions (29k words) – these are live labels. We categorised all comments into categories of “comments about museum” = 42%, “comments on topic” = 41%, “noise” = 17%. This project used “radical trust”. Just because users can abuse you doesn’t mean they will. You have to trust people to open up in these ways.

Breaking down comments further you seen that a lot of comments were on a single exhibit: a jar of moles. The museum didn’t know that it was a prize exhibit in that way…

Looking at engagement we saw about 1 in 3 visitors contributing. When you ask a question

http://blogs.iwm.org.uk/social-interpretation/

http://www.qrator.org/

Q&A

Q1) My question is about participation. What the participation you want is? What is the quality for this?

A1) We want people to contribute something – and to then explore that. My ultimate idea is that you can’t really design for a particular type of participation until you know what type of participation you might get.

Q2) Did you do some scoping on what visitors wanted in this work?

A2) With the Imperial War Museum visitors in routine visitor feedback groups were asking about discussions, about more active participation in some way. And when we then asked about how that would work we started to build up an idea.

Q3) There’s an ongoing debate about the hierachy of what the museum says versus what the public says?

A3) That’s one of the most difficult things, particularly at a big institution. And the idea of how/when you might archive those comments, when you add those to the content management systems. We haven’t addressed that yet. User comments sit in middleware right now. But that’s a real challenge.

Q4) Is there a way to vote comments up and down?

A4) There is a Like and a Dislike button and also a Social Moderation button. The comments are not moderated here. If a visitor reports a comment as unacceptable that will mean we intervene/remove. We hope Like and Dislike will really help. But we find that visitors really enjoy reading all of the comments – we are getting a lot and people are reading them all!

Q5) How far back do you go designing with the users… in this case isn’t it more sustainable to design with the users. So it’s user driven rather than user centred.

A5) I would love to do user driven design but museums aren’t brave enough yet..

Q5) I have seen user centred design in creative arts spaces and SMEs but much more about user driven design now. It might also be about how you incentivise the audience to come and design with you, not just that institutions don’t move forward to next design stage.

A5) I think it’s the next step really. But these things are so institutionalised that you need top level buy in for that. We are not quite there yet.

Q6) to do that you need to have super engaged and enthused users… and I would argue that those are no longer typical experts.

A6) I take your point. I try to ask every user about their experiences, not just those who agree with me. Not just niche groups. It’s a case of trying to get that balance. It is hard with digital platforms as they often attract the enthusiasts. Interestingly people at IWM didn’t like the idea of digital but when we said you can fit  more words there people were excited – they wanted to read more, to scroll more.

Sunil Manghani, York St John University – #AreWeContent?

I’ve been using this phrase – both the idea of “are we happy” but also the idea of “are we the content”. And I think about Alice in Wonderland… she is exploring but she’s always the centre of her experience. How do we feel comfortable? Are we extending out? Are we hyperlocal? The anxiety issues of Alice in Wonderland doesn’t quite ever go away for me. I’ll move on to conversation, comments etc. soon. But I wanted to start with data/culturomics

I recently attended one of the Hack for Culture events, this was in Liverpool. And I’m not sure whether we achieved anything there exactly. I don’t know if you’ve seen the Google Books project with 5 million books used to examine culture. Data is available, and a way to analyse culture. But can be disturbing. So if you look at a map of Tate Liverpool’s ticketing showing geography and social class. This is done with ScraperWiki – quick and easy but what about ethics and methods? There are a new group of researchers who may not be academic researchers or institutionally affiliated but are just interested in the data. What is the role of the data? Is it helpful? How?

And I also wanted to talk about Adonis Hawkeye’s 1940s essay on media, he said “the whole world is mae to pass through the filter of the culture industry”. It was very much of it’s time, the era of war information, propaganda etc. But that essay is still relevant today. We have become quite comfortable with the idea of the “culture industry”. I think I’m interested in the culture of the “social industry” and my main concern are the major platforms of Facebook, Twitter, Flickr etc.

::: update :::

Here are the rest of my nets from the day, to be tidied up a bit:

 

 

So finally I want to talk about the screen and the ways we engage with screens. We have a big rhetoric about cooperation – thinking about?? Conversation/engagement from dialectic to dialogic.

He sees cooperating as hard and that it’s important that it is hard. Dialogics idea is not like a jigsaw puzzle. My argument is going to be that the kind of dialogues on screen end up being quite dialectic. I think it’s the reason why a number of these players are on the more distant end of the spectrum in terms of engaging with users.
The idea of the openendedness of dialogics should work with Facebook, an ongoing friendly space. Richard senate worked with Google Wave for a research project and was quite excited about t but he commented that this space ended up being quite dialectic. Someone commented about gender, no one chatted further, and at the end it became clear that that was really important. These social spaces can often lose key comments. I am deeply critical of the fold – you often don’t read beyond the last few comments and different voices can be lost.
How can we create spaces that are genuinely able to make this work. The gap between empathy and sympathy. How does empathy come through online. Social spaces are neat and organised but can we cognitively deal with this. Even the use of things like speech bubbles can be better than a boxes interface. How things feel matters. For me Facebook echoes so strongly the ideas of bruckheimer about automation, FreeTime etc.
Perhaps some of the things I’m interested in is about making conversation appear on screen more like a mind map so you can move In and out of interesting items. I felt the space looked quite refreshing. Touchscreens in galleries are quite clunky, how do you hide data behind something more pictorial and engaging, and get people thinking…
I am questing whether now the culture industry is made to pass through the filter of the whole world (web)… ?
And the idea of difference being made through these platforms
Q&a
Q1) I have the impression that even in Facebook or the museum… It’s about your personal life experience… What is the common experience here?
A1) the cult of the individual is all around.. Your own point of view, your cultural identity is so crucial here. I that already a barrier to cooperation and collaboration. Here?
Q2) these sites are so driven by commercial interests…. They all look the same. The Tate stuff looks the same, pinterest is about personal collections of materials, I’d love to see a sort of pinterest for museums of personal taste… More than the comments of the qrator model.
A2) I am looking forward to working more with the tate. But my students have such high expectations. But o we need to dismantle the Templars here? David in your book you talk about individuals making their websites… Working from scratch is so creative.
A2 – comment) I think pinterest has interesting possibilities especially for collating video
A2- john s) there are standard ways to engage online, search boxes are expected to be in one place, logos in another… We dd a 3d mind map of one o our exhibis. The national film board of Canada ave made a series f nteractive films that should be checked out
Comment from David – please tweet links to any websites mentioned today.
Discussion
One of the drivers for today’s event was the support of ravelry. Mini communities of interest
Rivalry and copyright, binding, having to register to look.
Responsibility of response. The opportunity to comment back to comments. Curate your own conversation there, people up stuff up bt do they always respond… You can turn a comment around, facilitate that conversation. More than one meaning to a piece, topic, etc.
Easier said than done. A nice comment you can only really respond with thank you.
How you value, archive etc. is a really important point. Again her you have Nieve comments that become valuable because of facilitation of those comments.
One of the themes that emerged… People that trained as curators. Offal trained people, get cross when others claim to be curators/creators.
I’m a big fan of together and what senate says we’ve lost the rhyzomatic approach and movin to hierarchical approach but social media brings that back. It is positioned in an oppositional politics.
The problem is turning that into a meaningful context, reflecting and making changes.
But senate says you make change where you are on her local basis.
This sense of when yo walking any space, the sense of looking at objects and tryin to have an experience. Visitors may come in with a set idea of what the experience you have. That sense of yourself rather tha your knowledge of the object, looking at yourself as well as the other. Conversation processes. Not knowing more about the object…
It’s about empathy, empathising with your audience, and towards yourself. Often you don’t see yourself in the picture.
I did some design research with the arts council, recording visitor conversations in front of objects. People did seem to engage in incredibly personal ways. And personal journeys. One who had commented only onthe weather in each painting. One whose wife had died a year earlier and came every day as a way to manage his grief. People craved expertise b they are very capable to have their own interpretations
Did you d anything with these recordings, looking at the art kiosks. We did a bunch f things, we recorded people using the kiosks, we sent people off with Audio recordings, and we did audio recordings of those who had used kiosks… We got some amazing data here. The recordings themselves were for the research, it would be lovel t share those sorts of experience cs though.
Where does contributions lead to? It seems to a waste to just gather data.
But survey we want greater engagement with the exhibits as an endpoint
The supposition there is that the engaged commenter is having a richer experience and that is very dangerous
We want certain things from our audiences bu we need to nt privilege one experience over another
I was in a gallery exhibition the other day and we were talking about the exhibition and someone came up and said that we should be whet as its a library. Loved all of this.
Sobering comment. We have a little bit of flaw in content and form of our discussion. Basic frame is about art. Those people who do engage with art… They don’t d things to be hateful etc. it tends to be warm and fuzzy feelings that are reflected in engagement. That is the exception. When we talk about citizen engagement etc. the last example should be art! Most inventive use in man countries are extreme political movements.
Audience.. I wanted to ask…. We differentiate between online spaces and offline spaces…. Different engagement, different spaces.
40% of Tate website visits are from overseas. We did analysis with 150+ user groups… I don’t think tha out activity is purely about driving visits to the physical gallery. Seeing art in person is better tha an image of t…there’s something called the arts council segmentation and we tried to apply that to online spaces but that was really difficult… This kind of analysis of digital visitors is in its infancy. When we say visitors, we mean browsers, we don
T know if there are many people viewing a specific screen.
I went to see a beautiful exhibit at Tate St Ives where it was a white room and you added your height. The Tate and others could do much ore to make online a creative space not just a discussion space
Closing
1) An ongoing question around conversation and what you do with that stuff. And starting c versatile – see Henry Jenkins spreadable media
2) Expect more from people
3) fourth and Fiona event is on learning and is at UCL and we have some interesting speakers there too.
4) if you want to guest blog, just say
5) if you don’t want to be on video, say now.
6) thank yous to all of our organisers, fur speakers.
Culture Hack Scotland cupcake

There’s been a bit of a gap in my liveblogging from CHS 2012. I’ll fill in the gaps in my previous posts soon. But I wanted to share the hacks here so I’ll be liveblogging the hacks as they are shown. It’s all very exciting…

But first, now that we’ve all submitted our hacks, it’s time for a performance by Jonnie Common. And he’s been up 24+ hours playing with archive sound – field recordings from the National Museum of Scotland, Alumni data from Glasgow School of Art, Tramway Footfall Data and Tapestry design data. And it’s pretty cool. Also previewing some tracks from his new album made entirely with noises from his kitchen, including his “Ofen” (apparently all automated call centres think that sounds like “beer cooler”). A really lovely piece of music generated from a base sound of kitchen. And his big finish is a piece made from Tramway footfall data.

Erin and Devon are introducing the Show & Tell with their highlights. Devon says he’s been overwhelmed by the quality of the hacks. The two main things that do it for me are the quality of the hacks – people have actually made some super sophisticated thing, and other thing that amazed me was how many people stayed up the whole night. There were like 30 people at our 2.30am check in! That’s really really special. Thank you to everyone!

James Stewart of Data.gov.uk, Birghitta Zichs researcher at CultureLab, Cath Mainland Chief Exec of the Edinburgh Fringe and Clive, Director of Dundee Contemporary Arts are our judges.

My GI

We’ve been working on two projects - My GI and Uncreative Scotland, exploring the least creative areas of Scotland. We ran out of time for the latter but we could see that project trigger funding etc. The idea is to open up the programming information – curate your own GI by logging in and creating a programme of events with own openings and talks. Break down the hierarchy of the events, ask people to your lag as part of this.

404 Visual

I came here with Interface 3 but did a little sidpromo jet with archive NMS sounds. Basically it’s an audio visual visualiser with several settings. That’s about it.

Yaunne siesnik @amazingrolo

This is a hardware hack. And I also used the NMS field recordings here as I’m a huge fan of field recordings. And I’m really interested in usual ideation of sound, but also the physical inout and output of sound. So this is an output device for sound as lights, using pitch tracking to control the lights. I also hurt my hand recently and this led to me thinking about ways people with limited mobility experience sound. Also sound is hard o do in a public space – too loud and annoying or awkward and problematic. And what.  If you can’t hear the sound at all? So I made a bit of software here.

Team 365

Wanted something different. Combined skinny and list data and used sound data to make a soundscape of events. So this is Glasgow tonight. Uses sound cloud data.

Team shaky

Before we get set up we want as many people as possible on twitter/iPads. Massive game. You get a role, you perform, veg or flowers are thrown.

Kyle

I am a student at Glasgow Uni and I worked on a visualisation of the tramway hourly footfall data. Both by hour and by exhibition.

Team banned by google

We didn’t have an idea until late last night, we worked with the creative Scotland data set and data visualisation, we’ve used postcodes and built boundaries and then visualised the amount of spending. We got banned by google or hitting their servers too hard, hence the name.

A short gap so Rohan gives us a thought experiment – imagine the cost of this talent for this many hours!

Douglas

I wanted to do something and Macbeth was a really huge data set and huge amounts of content. It shows a random text, asks you a question about the emotion and then colour codes the text. It builds up the colours over time and responds to the emotion of the reader

Stef & Carolyn

Scottish book trust my favourite place data was something I was looking at on the way to CHS. It’s a lovely idea but it doesn’t look that exciting, it felt like they forgot about the story. So we built storyline using a tile set called stamen o build a painting like map o he stories. We finished at midnight so…

Another hack. Cuts mean artists are not as well supported so this is the idea of communally funding artist time on experimental time. You put money in to fund artists to work for a number of days a month. ? Time and people is the issue for me as part of an arts organisation so the idea here is to give people time for their work.

Jen and paulo

Paulo: This is a hack using chapter titles and the text of the track an novel by Catriona childs. The chapters are named after song titles so you can also lck through to that track. You can also click away, explore other parts of the book. Uses refreshed random images from instagram.

Jen: and we built a second hack to see what’s oing on an hidden where you currently are so you can explore what has been contributed in your area (eg data like “this I the pub from train spotting” )

Macbeth digital

Thought that it would be great to see plays on twitter, a twitter client that runs through the whole of Macbeth, you can see it come in every second or two and skip between scenes

Temas

Field recording hero! This was based on national museum of Scotland. Takes lips automatically, can speed it up. Can increase density. Can also combine some sounds. You can click or play via the keyboard. And you can make your own field recordings

Jim, donny, carol – yarn spinner

This is an easy beautiful and social way o read on a tablet. Swiping sucks. The first book here is Catriona child’s book trackman. It pulls in bits of text and associated images added to the book,can favourite bits of the book, can comment so v good in education, can send to twitter, we added map data and images but users could do that, publishers could do that, and ou can change reading speed etc.

Mitchell

I worked with Glasgow museum zoology data. Metadata from their collection, mashed up with some images from wiki commons. Use data from sample collection to see maps app/google maps. Which museum would have been handy, could add. Read more link. It’s just a nice way to explore the collection. And we’ve added noise too! Although most sound like sheep! But if there was sound info you could build a richer experience, could add user images, build a sort of game for those visiting in person.

Alastair Macdonald

Rohan adds a top fact: Alastair was the first person to sign up to CHS this year!

I was tempted to use the Richard Demarco data – 6000 images from 65 years of the fringe. I wanted to run the images through facial recognition software to see faced and change over time. But far too many images to process. But you can quickly see features like glasses etc. got tons f data back. Only had I’ve to put into exel to see estimated age of subjects – a peak. Early twenties, slightly more women. Glasses wearers by age also. And mood… At 47 everyone is happy! All 6 year olds are surprised! By remember its not a big data set! What’s happening is for a few years images process great, but 2000 and 2007 images seem o be scanned in and messes with data! So that was my experiment… I think it failed.

Kate Ho and interface3 team

We are generally interested in digital storytelling. And we built everything for our game in 2 hours built on Edwin Morgan’s stobhill. It’s from multiple perspectives, it’s a very grim tale about a young URL who had to have an abortion and just as it was about to go into the Incinerator it’s found to be alive. Its told from doctor, porter, parents and boilerman. So it’s an immersive story imagining the hospital as abandoned, has a dark creepy tone like resident evil. You poke around. And move through audio. And it is quite creepy and sinister. We want to develop this on, transported to the highlands where the conception happens in second level. Going to end en route to the incinerator.

Rory (@digitalwestie)

I’ve been working w/Glasgow unesco city of music data set. Over 7000 tracks from different artist, was ruinous about what I might like in there. I use a think called last fm which lets you hare and is over music. And there I a list of festivals in Europe ranked by kast.fm by my taste in music. Thought it would be grea to o something similar. Hence weenies love beats – a mix f Glasgow and last.fm data. So you can look at the data set from your own perspective. Lots more you could do with this data, I added 10,000 tags to this data so think I just scratched the surface.

James baster - flock lights

I used twitter data from everyone here, looked over 9000 tweets around the event. Pulled it together. Was about useful information – contacts, links, possible new connections. For each persons have inormation about their friends, ollwsm conversations to. But just around the hash tag. Can also look at word use to gather by word use and topic. Online now. More data could o in, but what would be useful? And it’s all on GitHub.

Roy, Micheal, tom and jack from Dundee

This team have two products they will be showing. Another hardware hack! We are all associated with Dundee Uni? And we have made the Skinnys jeans! They walk the event frequency of events in Glasgow.

We also Built a device to make words physical Neil I created a visualisation of one of the Edwin morgan poems. Takes each line of a Poem, finds a word, pulls in a random image from flickr. So you get a sort of visual poem. With fun and slightly random effects.

Stef and Katie and Carolyn

This was a project with the Richard demarco data and approached it by looking what was online already. An organisation has been funded to scan in one mans life works really. But the website is kind of getting in the way of the content, hard to get to photographs. so we wanted to highlight key artists and making the images stand out.

Lucy, Chris, Gavin and monkey the dog

This was lucys first coding experiment. It’s a project using arguing. A ducky flashes a light every time a #chscot tweet ones in!

James mail

I am a product designer and I was inspired by the tramway footfall data, this is a thin you could install in a gallery spaces. Releasing ping pong balls or each previous visitor that then mingle with the real visitors. John (jonbca.github) I used footfall data also. Dots bouncing represent people visiting, can see the busy times… And it’s very much a work ian progress.

Textmob

Inspired by poetry and Macbeth we decided to set up flash mob readings! We did this with twitter. You can take part by tweeting #CitizenMob. Then line are assigned to the crowd who can join in the reading

Reading betweet the lines

We did three projects. First was poems of Edwin Morgan told in others tweets who don’t even know they re takin part. Big blue word highlighting show you the connection ian a stream on random tweets. Each is retweeted letting people know to learn more about the poet.

And next we made a generator to make new poems from his work. And it works!

Finally we took university of edinburgh data and it will show the buildings and energy use over time. It animates a beautiful set of colours showing change over time and it looks beautiful but projector isn’t playing ball today.

Festory

We wanted to use edinburgh festivals data – financially worth more than golf! But it means a lot to people who take part so… Festory… We were inspired by GSA alumni archives by ended up building a way to map social memory onto festivals. made it pretty. Can add by show, place, year et. And you can add through the year. And thinking about mapping entire fringe performers. You can check into a show. Want to crowdsource photographs,  the performer’s perspective and from the audience and reviews. We had loads of ideas here, lots more work to do!

Creative Scotland – Stephanie Chris et al

My interest is in the creative Scotland data. I came up with 4 broad categories of data – capacity, impact, outcome, investment – or those interested in but outside of arts in stolen – policy makers, donors etc. so you would go in, pull in data on a project and look for how to track and monitor projects. It’s a cultural policy hack!

Ellie Harrison

Suzy invited me here. I felt a bit left out last night. I like to reduce my interaction with tech as much as possible. I was probably in the wrong place. I only got my laptop outat 2pm. And I try to avoid twitter but hard to acaommunicate here without it. So I did a little societal study of twitterholics. So I only spoke to 12 people. Thank you to all in the sample! I also wanted o ask how long each night people tweet by put didn’t know how to visualise this! Leapyearboy tweets least and sleeps least. So here are our sample. Second top is suchprettyeyes/nicola osborne who helped me put this together atbthe last minute. Alastair is our top tweeter! And signed up first!

Smash it – nick street and alex waterston

Last year I made something for stealing from Nms. What better to top it then smashing stuff from the NMS. And I must apologise as I mashed lots of data sets into the concept: Animal reincarnations of dead poets wan you to smash the glass treasures infringe venues for creative Scotland Smash more for more funding! It does work. If you want to play it… You’re mad!

And that ended the Show & Tell portion of the event. Which meant it was time for beer, cupcakes…

Culture Hack Scotland Cupcake

And then, the judges decisions… which were (according to my live tweets):

  • Commended #chscot most playful app: textmob; and creative Scotland by banned by google. Winner: Macbeth parlour game! Phenomenal!
  • Recommendation: demarco website by @stef an co. special prize for extra activity also to @stef. & prize for the audio visual player #chscot
  • Prize mentions also for mist useful the field sound recording hero, and @Alastair’s demarco project. Winner xdesign360 soundscape #chscot
  • Product hack: commended smash it, winner skinny jeans #chscot
  • Special award to the fab @kateho team as they did crazy amounts of incredible work in the 24 hours #chscot
  • Extreme excitement: the fabulour Macbeth parlour game takes top prize! #willdiscover

 

I’m live blogging again, this time from the opening of Culture Hack Scotland 2012 which is just opening with our first guest inspiration talk….

James Stewart, technical architecture for gov.ac.uk 

They created the Gov data alpha; Www.data.gov.uk replacement for directgov.
Tricky to talk about that here… My perspective is from London but be aware we are thinking hard about devolved presences and how that is handled.
Inside government – stuff the general public wants but not first thingEleasing 10 design principles informing what we’re doing. Trying to change very old organisations with very new tech.
1. Start with user need.
2. Do less.
3. Design with data – using request logs for data, regu,actions on what must be provided etc. we use Google Analytics and think about KPIs to inform how we do and improve this all the time.
4. Do the hard work to make it simple – what two or three questions do you need answers to to make the simplest solution for your users
5. Iterate. Then iterate again. We put out a release,get feedback, improve, iterate, blog the change etc.
6. Build for everyone – we didn’t think about accessibility at all on the alpha but we are now doing a lot to ensure all is accessible and it really helps in thinking about making things simpler.
7. Understand context. A lot of people are set in their ways but lots of others are frustrated with the system and want change. Finding those people can be really powerful. Building stuff fast makes a big difference, let’s people understand the benefit.
8. Build digital services – how do you connect up the User experience and the actual service, the thing they want solved. How do we use APIs and decoupling to do this.
9. Be consistent, not uniform. Up until now you had to learn the sites from scratch. We don’t want them to be the same but once you learn to use one you should be able to use them all.
10. Make things open. We are very open source. We put code on GitHub. And we had an early commit to flag up erroneous Scottish bank holidays etc. we want more interaction. – engage, correct us…if you do these things openly people are inclined to come and help you.
Finally note that we are hiring!
Over to i think Erin for the data…
We have split this into themes…
  • Archives – Glasgow Uni, Scottish Poetry Library
  • Content – Edwin Morgan poems, Macbeth marked up, Catarina child’s book, images from museum did art gallery
  • Listings – in Glasgow at the moment it’s the Glasgow international festival on visual arts and we have their listings, we have List, Skinny, edinburgh Festivals, Creative Scotland etc
  • Footfall data, carbon/energy use in Edinburgh
  • So lets talk data…. You could use the Richard dimarco images to chronologically track social and cultural change over time. Or you could combine the international listIngs with social media mentions.
  • Alex – I want to think
  • Sarah Drummond, award winner, has ideas next!
  • Kate Ho – we want to do something with a particular Edwin Morgan poem, stobhill, to make a computer game
  • Rory? We want an en mass party game/reading of Macbeth!
  • James – loads of collection data.. Want to build a what do I do today… Pick from various pairs of pieces when having done a few of those you get suggestions
And now…
Brigitta Zics, director of culture lab at Newcastle University
We do various projects which bring together HCI as well as art researchers, very different from social sciences! And we are around 100 researchers, always happy to hear from more!
We are all about art, design, technology, but also critical and reflective perspectives on that work. So I’ve been asked to talk about aesthetic design… Hci is very tech driven, design and interactive design and designers who try to bring this all together are also important.
I work on combinations of all of these aspects… I am an artist, I code, I’m interested in psychology as well. We can think of interaction as knowledge exchange. How does interactive work become aesthetics? I want to show some of my work here to illusate the concept. I’ve done some work on data visualisation called mirror space. People interact with an object and their facial characteridates plus data on the web created an image to reflect back.  Abouts body movement, not literal representations… This is about experience not beauty here.
One of the most inspiring things I found was an article in new scientist on a woman with locked in syndrome who knew she would lose all movement, even her eyes. So she came up with a way to communicate through her saliva. So if you imagine ph levels, she could say yes or no by having someone read the ph in her mouth and using her body in this way.
So we need to think about the user, not just cultural or social but also how we are acting, what are we doing, our physical selves. Interaction that rElates to that. So taking a sort of aesthetic ecologies type approach.
So my current project uses interaction with eye movement and screen and a heating and cooling system. So I think about monitoring the user, feeding back to them and engaging with them so I set up a sort of feedback loop here. A kind of cognitive mfeedback loop of interacting in an aesthetic way with the body.  There are some papers we have written on eye movement systems and aesthetics. And we are looking at emotional states and engaging on that level next really.
My message is to go beyond tech and thinking about people and abouT their imagination, and qualities that outlast technologies.
And with that the talk ends, the action kicks off… And the live logging pauses for some time….
Screenshot from the ViTAL Webinar on "Flipping"

This lunchtime I have been attending a ViTAL webinar (held via Adobe Connect here) on “flipping” which they describe as “the video-based approach that emerged in the US and has raised huge interest in the UK and Europe”. There is more background in an article on flipping in the UK edition of Wired this month: http://www.wired.com/geekdad/2012/04/flipping-the-classroom/

Our presenter for this session is Carl Gombrich, Programme Director for UCL’s undergraduate interdisciplinary degree: Arts and Sciences BASc. Carl has Maths, Physics and Philosophy degrees and is a professional opera singer!

 

Screenshot from the ViTAL Webinar on "Flipping"

Screenshot from the ViTAL Webinar on "Flipping"

So here are my notes from Carl’s talk:

This is my first webinar – in fact I’m really pretty new to technology in general. He’s currently setting up an interdisciplinary degree of Arts & Sciences. It’s a major launch of a degree for UCL, it starts with 80 students this year. And we’re really thinking in this climate – and the recent changes to student fees, funding etc – about how we can best engage our students. I am entirely focused on teaching – I’m not involved with the REF at all – and I am desperate to do something better than huge lectures to foster engagement with students.

So about 18 months ago I started to hear about “Flipping” with the launch of the Khan academy. I’m a fan of those and would have loved to have had access to those videos at school. So I wanted to think about how lectures could share content and do this ahead of the lecture so that contact time is really saved for stuff that really counts.

The idea of Flipping comes from about 2007 – Bergman and Sams although some say they have been doing this for much longer – where there was real questioning of why we gather students together in person in a room. I wanted to think about their model and think about how to make contact time more useful, more valuable, so wanted to add polling to the face to face sessions so that lecturers can really get a handle on what students want, to foster engagement through questions and why that’s a good idea.

You can see a 12 minute presentation on my blog about the kit I used but lets just run through quickly. I used the Echo 360 lecturcast system – the tool used at UCL. You just download it and it’s a few clicks to get started. I used a bog standard camera and mic – the built in options on laptops are fine. The lecturecast system could pair an image of the speaker with any materials. You can switch between the materials as you want. You can use MS Office docs along with any bespoke images you want. The exciting thing about video is that you can make it pretty interactive. You can stop the material, you can replay it to engage more with something you don’t understand etc. The other kit I used was a tablet – a little graphics tablet – I use Wacom/Bamboo – it just lets you underline, circle, highlight content as you want.

Actually after the presentation I did for the HEA I have learnt far more about how you do this stuff… some of the technologies are far more fluent, allow realtime noting etc. I think PowerPoint for Mathematics is a real killer. You have to see the process as you do in music, it’s visual, you learn best from seeing people thinking aloud. I think Khan does that so well, not everyone agrees but I think he’s a really excellent teacher.

So, that’s what I did. I think that sort of model is transferable to any old-style model. Any old knowledge transfer system should be transposable to the idea of making videos in advance. But if you want to do that what do you do?

Well you need to record lectures in advance – at home, in the office, event outside. Use lecturecast – this bit is easy. Then you ask your students to view the lecture before the timetabled lecture slot. Now that, of course, may not work… So… ask your students to upload 3 questions each with timings based on the video lecture (to indicate when questions arise) and send these questions to Moodle – everyone can see the questions that way and you also have evidance that the student has viewed the lecture and raised a question. Cognitively I think that’s very interesting but inevitably there’s also a command and control aspect here about ensuring students are taking part. And my colleague Matt Jenner has helped me set up some basic tracking in Moodle to know that students are participating. The other thing we dop is take a poll of the most popular, say 10 questions.

I was recently at a conference with Thrum, the man behind the Audacity web programming course at Stanford which you should look at as that is truly revolutionary, and he also uses polls and questions to gauge student need, to shape the teaching.

So back to what to do… the final stage is to go to the timetabled lecture slot with questions – interact, debate, solve problems with the students. That’s where it’s really pedagogically interesting. You get to know the students really well, you can get a sense of learning type (if you believe in those) and you can really get a sense of how they are doing. It’s a way to get back to more personal relationships in learning.

So the good things about this approach are that students can interact with lecturers on questions that interest them, problems they want to work through. Students can be split into groups and perhaps support each other (see Mazur) but the key bit is they get their questions answered. Better relationships are built up especially around mentoring, contact, etc. And submitting questions could be part of formative assessment so that everyone is involved in learning and that can really soldor that engagement. And that old lecture time can be used for summative assessments – short tests, blog pieces, group work, longer assessments etc.

And the bad things here?

Well some are concerned about the kit working, technology issues. But I am really a middle aged late adopter and I can manage, we owe it to our students to engage in this stuff and it’s easy to do.

“It will take me double the time – 1 hr to record the lecture, 1 hr for the interactive class” – well perhaps in the current fee climate we owe it to our students to spend that extra time. But being kinder on the lecturer you also do not have to rerecord the lectures every single year but you can rerecord as needed to update or correct anything. And like writing lecture series you can do this far ahead of term. And colleagues have pointed out to me that we don’t have to spend a full hour video – a series of shorter more intense videos might be better and allow you to really focus on the threshold concepts. I don’t know how much more work this would be – maybe 25% more in the first year but reducing over time. But the gains are so much more than any additional time one puts in.

“I hate working to camera” – I loathe working to camera, particularly I hate still images. It’s a real issue for me. But it’s where we are with the technology… I remember my grandparents generation refusing to use the telephone! We all use email now and I think video is really becoming that ubiquitous. We just have to go through that process of getting used to it.

“Students and colleagues will make fun of me or say inappropriate things about my style or the lecture” – this is falling away because of the ubiquity of video. There is an issue with trolling but it’s not a big issue with this sort of video. BUT there is a good reference in my slides here – students have other things to do, we need to rise above those concerns.

References:

And references from the community in the chatroom here:
Q via John Conway (Moderator)) We’ve had a comment about the Panopto product – it lets students annotate notes and save to their own profile, and they can then make them available online for discussion.
A – Carl): Lecturecast isn’t well used yet in UCL. The idea of polling questions in advance is the reflective thing – students can go away, come back, think about the questions. We learn when we aren’t thinking directly on the topic so those gaps can add some real advantage.
Q) What is the difference of Camtasia and Echocast 360?
A – Carl) I think they are versions of lecturecast systems but fairly similar
A – John) Lecturecast is the concept really. Camtasia is a vendor of several sets of softwares. It’s something that we’ve had to be careful to phrase things – see the previous presentation on Lecturecasts on Ning.
Q) What about doubling student study time?
A – Carl) Well we know the thing students most value about studying at university is the contact time and so I think making that more useful will be appreciated. But perhaps it does require reshaping of expectations. perhaps you shave reading time to allow this video engagement. I don’t think you add too much time and hopefully it will be something they value.
Q) Our experience at Aberystwyth is that lecturers are not keen to videoed and students are not that bothered to see them. The audio and the content are the key thing.
A – Carl) Speaking to colleagues there I have a sense that a face is really important for younger students – perhaps children/young people not adults. The audio is the key bit for older learners. But I’m not hugely sold on video particularly. The ability to draw on the screen, to show the process etc. is really important here.
A – John) We have some material on the usefulness of capturing body language – adding additional feedback and information here.
A – Carl) Matt here at UCL has made another point – there’s something on my blog about “do you need to see your lecturer”. I think a few minutes to see them on video may be enough. If you never see/meet someone in the flesh you lose something BUT once you have that, once you have a sense of them as a human, then you can go back to the virtual and use that sense of them to really better understand what you are engaging with online. I think there not meeting/meeting via video/meeting in the flesh. Both of the latter are important but perhaps we don’t have to do as much in person as we once did.
Comment) In teaching negotiation video is hugely important
A – Carl) That is a hugely important point I hadn’t considered – any teaching that requires understanding human interaction – psychology say – will really make the
Q) Do you make any of your material available under an Open Educational Resource model?
A – Carl) I’m not sure if we’ve worked out the economics of this… if a lecturer makes their materials available for free what does that mean for the lecturer and for the institution, doesn’t it undermine that? I certainly don’t want to release them all before students get here. Maybe I’m just not brave enough here!
Q) Many lecturers are used to presenting materials but some are not used to being facilitated? Should we offer training on how to be a good facilitator? For instance would they need training on how to handle debates in the classroom?
A – Carl) Gosh, maybe. I’ve always done my teaching the way I do. I suppose I just expect teachers to have those skills and I’m lucky that setting up a new degree I can choose my colleagues here. But if you don’t naturally engage with clickers, with new technologies that have proven pedagogical value then yes, you would want/need access to training.
Q) What is you say something untoward on camera?
A – Carl) That’s a really interesting issue and is far beyond just education. I would hope that we would really learn to handle this as society in a sensible way. As educators we should lead though. I think if you make a comment to a group of 200 people that isn’t being recorded should be fine with doing that when you are being recorded and be backed up by your institution.
Q) Could you use some of the captured content in the classroom?
A – Carl) I think you would not want to show long clips but with a bit of planning using a clip related to the key questions as you are addressing those.
Q) What feedback have you had from students?
A – Carl) As I mentioned earlier I am setting things up for September 2012 so I don’t have research base for this teching method yet but we do have research that what students value most is contact time. We are also trialling some split screen head to head debates for students to engage with
Q) How will you evaluate this approach?
A – Carl) Some open ended questions at the end of term will probably be the way to do this. I am cautious about over scrutinising students – I just think that’s the wrong atmosphere for what we’re trying to achieve.
Really most of the first and second year undergraduate courses you might be teaching are already on the web in some way – via existing educational materials online. But you really add the value meeting the teachers face to face and discussing and engaging with them.
Comment) Isn’t this the same as reading before a lecture?
A – Carl) Yes, some of my colleagues have said that! But the medium is really changing. In a way we’ve always asked students to do pre-reading – and they have rarely done that. But I think video, I think polling students is a qualitative shift that makes this difference.
John) Thank you all for coming along today and if you have any further questions and comments do take a look at the ViTAL (Video in Teaching And Learning) Ning community:  http://vital-sig.ning.com. We will address any questions raised there on Ning and perhaps in a webinar in the future.  The next webinar will be on video and pedagogical design.

 

Today I am at the eLearning@Ed Conference 2012. This is an annual event focusing on experiences, innovation, and issues around elearning and based at the University of Edinburgh. As usual this is a live blog and will likely contain typos and occasional errors – do leave a comment if you have a correction!

Please note: the LTS team are livesketching the day with an iPad today as well: http://tweelearning.tumblr.com/

::: Updated – you can now view all presentations here :::

The schedule for today (and these will be updated and transformed into headings as the day progresses) is:

Welcome – Professor Dai Hounsell, Vice Principal Academic Enhancement

It’s lovely to be here this morning and to be reminded of how wonderful a place to work this is with such a creative and innovative community. And this is such a wonderful Edinburgh title “Pushing the Boundaries, Within Limits”. Indeed you may recall a campaign for Glasgow called “Glasgow’s Miles Better” and someone created a mini local Edinburgh one “Glasgow May be Miles Better but Edinburgh is Ever So Slightly Superior”.  But that note of caution is sensible. There has been so much talk about how elearning is going in mainstream that we can lose sight of how

We are pushing boundaries but then what sits within those boundaries is really changing. The University in 2012 would be unrecognisable to someone stepping out of a time warp from 1992 say. I think many of our practices and notions of what makes good teaching can be the consequence of old ways of doing things. That’s part of the challenge of breaking boundaries. A lot of our boundaries are part of the past. If we had started with word processing rather than pencil and paper would feedback have become a thing we do after the fact? And if we think about collaborative learning it really challenges some of our colleagues in terms of what they think is right or fair, some funny words can come back in response like “collusion”. As an aside a colleague speaking in Scandinavia found there is no word in Swedish or Danish or Norwegian for “collusion”, it’s all just “collaboration”.

When our colleagues get nervous about the possible downsides of students collaborating together we have to recognise that they won’t change overnight but we also have to realise that it’s valid and right to push them. And on that note I shall hand over to Wilma.

Wilma Alexander, chair of the eLearning Professionals and Practitioners Forum is welcoming us and telling us that eLPP is changing it’s name officially today to eLearningEd. This is intentionally less obscure and should help to clarify what the group is about and particularly to help colleagues in the University understand what we are about.

So to introduce our first speaker: Grainne has been invited along today because much of her current and past research looks at the kinds of issues Dai has talked about in his introduction

Keynote – Openness in a Digital Landscape. Professor Grainne Conole, University of Leicester. Abstract

I’m going to talk a little bit about the notion of openness which I’ve been working on at the Open University and more recently at University of Leicester where I’ve been since September. I’ll be talking about technologies trends. I’ll talk about learner experience. And I’ll talk about open practices – Wilma pointed out the hashtag for today (#elearninged) and how many of you tweet [it's most of the room], that sort of thing is really changing what we do.  Then I’ll be a little more negative and talk about teacher practices and paradoxes. I’ll talk a littloe about new approaches to design. And then I’m going to talk about metaphors and the need for new ways and types of descriptions.

Technological Trends (http://learn231.wordpress.com/2011/10/25/trend-report-1). In the 2012 Horizon report we’ve seen mobiles and e-books highlights. In Leicester the Criminology masters programme have just given all of their students iPads as part of the package. We have Game-based learning and learning analytics – that latter is a sexy new term to explain the types of analytics we can gather on how people learn and use our materials, resources, tools. Gesture-based learning and the Internet of Things – there was a lovely article on the Guardian. See Also: Personalised learning, cloud computing, ubiquitous learning, BYOD (Bring Your Own Device), Digital content, and Flipped dynamics between student and teacher.

If you Google or look on YouTube Social Media Revolution and also The Machine is Us/Ing both of which really give a good sense of how things are changing. And you might also want to look at a report we did for the HEA where we looked at some key features of Web 2: Peer critiquing; User generated content; Networked – this is the power of tweeting; Open; Collective aggregation; Personalised. The report is: http://www.heacademy.ac.uk/assests/EvidenceNet/Conole_Alevizou+2012.pdf. If we had time

Gutenburg to Zuckerberg – John Naughton (blogs at http://memex.naughtons.org/) and it’s a great book. And he says: take the long view – we could never have predicted the impact of the internet even in 1990; the web if not the net; disruption is feature; ecologies not economies; complexity is the new reality; the network is now the computer; the web is evolving…

Sharpe, Beetham and De Freitas (2010) found that learners are immersed in technology; their learning approaches are task-orientated, experiential, just in time, cumulative, social; they have very personalised and very different digital learning environment. I have two daughters, one is very organised and very academic in her use of technology but she thinks Facebook is the work of the devil. The other daughter is dyslexic and is quite the opposite and loves Facebook. Who loves Facebook? Why? Who hates Facebook? Why? Our students will also be conflicted, have different views. And our students will be using both institutional technologies and outside tools

Open. Open Resources span a huge range – there has been huge funding for the OER spaces like MERLOT, MIT OpenCourseware, OU Learning Spaces etc. Increasingly research here shows that making OER available isn’t enough. In a recent report (http://www.oer-quality.org/) and the OPAL site we looked at what sort of support people need to use OER effectively, I really recommend the recommendations and that OPAL site if you are interested in OER.

Open Courses. These Massive Open Online Courses (MOOC) get huge numbers of participants but high drop out rate. Really interesting to have open educational materials and open courses (http://mooc.ca/). There is also the Open Access University in New Zealand.

Martin Weller, author of Digital Scholar and blogger, talks about open scholarship and exploiting the digital network, new forms of dissemination and communication. I use Twitter on a daily basis and am connected to about 4000 people there, the speed of disseminating information through Twitter is unprecidented and very core to my practice.

Thinking about Open Research I wanted to talk about some of the spaces I use. My blog, e4innovation, is core to what I do. Repositories have become a core part of what we all do – we have the REF coming up and those repositories are being scrutinised in more detail. And there is use of things like wikis and semantic wikis, bookmarking like Diigo, Slideshare, Dropbox, Academia.edu etc. Although I tend to use Twitter and Facebook mainly. I’m on Google+, Academia.edu etc. but don’t tend to use it.

Really interestingly Google now has a Citation tool within Scholar and you can set up a profile. And for sure these will be increasingly used for promotion, for REFs etc. This uses an algorithm from Physics I think. I applied to be a visiting lecturer recently and they asked what my h-index was.

Teacher practices and paradoxes – there are huge opportunities here but they are not neccassarily being fully exploited, we see replication of bad pedagoguey (electronic page turning for example). And intensive research universities like Edinburgh there is also a real tension between teaching and research because promotion is based on research not teaching practice and that pressurises time and attention.

So thinking about Learning Design we have been building up a series of principles. At Leicester we have Carpe Diem workshops on learning design and we’ve been combining this with some JISC work quite effective. Our 7 Cs are Conceptualise then… Capture, create, communicate, collaborate, consider. That’s an iterative cycle. And at the end of that you Consolidate.

In September we will be launching an MSc in LEarning Innovation using much of those learning design resources to think about how we approach this new MSc. So I’m going to share some of our slides and resources here. The Programme includes a series of “e-tivities”. We trialled this with a group of sessions with teachers in South Africa online over two weeks with 8 slots of 1.5 hr face to face sessions and additional work around this.

Peter Bullen and colleagues at the University of Hertfordshire has this concept of How to Ruin a Course – a great way to think about and improve a course. So we used linoit.com – a virtual sticky board – to think about what would and would not be included, what elements would be needed, and what would definitely not be in there. And then we colour coded for types of course content (eg communication and collaboration, content and activities, guidance and support, reflection and demonstration). And worked through this in Google docs, mapped this into a course map. And that has been pulled out into a plan for the course, technologies and expectations. The point about these different views is that they are designed to be iterative and improved over time. They may look simple but they are grounded in good and substantial imperical research.

We have also tried to reuse as much OERs as possible, to adapt others, and to create as needed. We’ve done a learning design resources audit to think through all that we need to deliver this course. We’ve built in various aspects, we decieded we wanted some podcasts, maybe a little interview or snippit of people like Diana Laurillad and at the OU we found students found these sorts of snippits really enjoyable and useful.

And then we’ve broken down the course activities into Assimilative, Information handling, Communicative, Productive, Experiential, and Adaptive activities. We have a little widget you can use here. And that gives us a picture of the type of profile of a course and lets you adapt it over time. This view can also be used quite significantly with students. I did an OU Spanish course and you get this amazing box labelled “Urgent: Educational Materials”. When I did OU Spanish my weakest area was communication by far. There is a really interesting link between what the course profile looks like and what the students need and take in.

As we started looking at the Learning Outcomes…. We didn’t do that first as you can get too stuck into the words here, easier to look at this later when you have a sense of what will be done. And then we can draw things together looking at how the Learning Outcomes and the Assessment (and all learning outcomes should be assessed) and how these are hit along the timeline of the course. So we mapped that conceptual model. And then we went back to linoit and set up a week by week outline where everything comes together. We can then drill down to a “task swimlane” and put into a little template for the e-tivities. And we are also drawing on some nice tools from the OU library in terms of information activities etc. And then finally we have an action plan for how we do this, a detailed thing to close the loop. These kinds of workshops can be very stimulating but you have to be able to follow up in a practical useful way.

And finally…

Metaphors. The ones I’ve been playing with are:

  • Ecologies – the co-evolution of tools and users, a very powerful metaphor; Niches colonisation of new habitats – Google+ perhaps; Survival of the fittest
  • Memes – particularly drawing on Blackmore here: something that spreads like wildfire on the internet, but perhaps we’ve gotten too cosy here
  • Spaces – campbell 72 talks about the cave, the campfire where we present, the mountain top, the watering hole – how might these apply in elearning
  • Rhizomes – the stem of a plant that sends out roots as it spreads… multiple interconnected and self-replicating and very like ideas and networking. Drawing on dave cormier here. Those of you on Twitter will recognise that sort of close furtive network of connections I thin.

The future of learning: technology immersed, complex and distributed… fuller notes on Slideshare: http://www.slideshare.net/GrainneConole/conole-edinb urgh.

Q&A

Q1) You talked about Learning outcomes need to be assed, can you talk more about assessment

A1) Assessment is fundamentally about articulating whether students have understood what we wan them to learn. I’m certain our old approaches are no longer appropriate. One of my daughters was

Q2) I was interested in your last slide about digital futures and was interested in whether you had looked at opening up coding practices

A2) I was involved in a project around x-ray chrystallography as Chemistry is my original background. Making raw data available we have questions of ethics and a very different way to share our ideas when still developing. But when I blog things openly I get feedback that improves the work. I think more open approaches particularly regarding data coding could be really interesting

Q3) What can be done to reduce the marginalisation of those not already using technologies?

A3) A lot of teachers do feel threatened, they are under a lot of pressure. I think this goes back to day 1 of lecturing in Chemistry. I was given a bunch of content and drew on my experience. I learned as I went and I think that’s how a lot of teachers start. I think we need to ease teachers into to easy conceptual tools that let them assess what technologies may or may not be useful – they don’t have to use everything, they can’t possibly know everything, it’s about baby steps.

And on to our next speaker…

Motivated, Omnipotent, Obligated, and Cheap: Participating in a MOOC (Massive Open Online Course) – Jeremy Knox, PhD candidate, School of Education. Abstract and Biography.

The research I will be talking about today is my PhD research on MOOCs which has been a participant observation pilot here based on three different MOOCs: Change 11, Change Education learning and technology – George Siemens, Stephen Downes and Dave Cormier; Udacity CS101 – Independent company created by Sebastian Thrun; MITx – first course offered by MITx.

MOOC stands for Massive Open Online Course. Udacity published 90,00+ enrollment numbers; MITx published 96,00+ enrollment numbers; Change11 has less, perhaps 1,300 active in the first three months based on my experience so far.

Open is perceived in the MOOC as both Open Access and Free. And for both Udacity and MITx that is what they do. That’s also why participant numbers are so hard to estimate for MOOCs – the door is open to entry but also to exit. Big gaps between enrollment and active participation. In the Change11 MOOC there is a more open curriculum and can decide their own outcomes and are encouraged to self-assess – a slightly different model.

Online tends to come down to either a central or distributed space. Udacity and MITx have central spaces where all the learning takes place – a little like an institutional VLE basically. So you have a central space with video lectures, notes etc. Again this is a point of difference with Change11 – all their content is created by participants rather than one organisation. So it is distributed across the web – blogs, twitter, etc.

Courses – MOOCs are structured courses. Udacity and MITx are very traditional with clear aims and objectives. Here you have to learn about building a search engine or about circuits and electronics. In Change11 students far more choose what they learn.

Hopefully that gives a sense of what a MOOC is, that there are various models in use here. So I want to talk about some terms I think might also define the MOOC.

Motivated – a central aspect of being a participant in the MOOC. Downes (2002) says that if you are not motivated then you’re not in the MOOC. There is an assumption of motivation and no central intent to encourage, support, motivate students. Perhaps an issue mappable to wider OER discussion. And some work by Downes found that as little as 4% of participants are active in the MOOC. Here I’m showing a viualisation of communication on Twiter between Change11 participants – you can see a small number of highly active participants/course members.

Omnipotent – is perhaps more relavant than open. They are sold as learners having lots of control over the learning process. They promote learner defined aims and self-assessment. That implies an innate ability to self-direct within the MOOC which we’ll come back to. Traditional education is framed as a passive process within this type of promotion. I suggest this isn’t just about Change11 which heavily promotes this way but also about MITx and Udacity the same need for self-directed students is assumed. The MOOC dissolves itself from responsibility for the students.

Obligated – Change11 requires students to aggregate, remix, repurpose and feeding forward. Participation is seen as essential in the MOOC. This is down to the model of the network that underpins connectivist theory and the MOOC. The more connected you are, the better the learning is. The network isn’t an analogy for learning, it is learning in connectivism. So as the network decreases so does the learning. So something to say there about collaboration. There is a tendency in the MOOC to enforce participation – important for the individual but also essential for the whole. So despite the idea of autonomy the network is crucial here.

So I think Omnipotent and Obligated are real clashing factors here… a problem for the MOOC.

Cheap – perhaps in the financial sense. But more in the sense of responsibility. Learners are responsible for own motivation, they must self-direct, in Change11 they have to decide outcomes and self-direct, if the learners don’t participate there is no course. There is a tendency for MOOCs to shift responsibility from the institution to the student.

So to finish… I would suggest that to rephrase Downes to “if you’re not motivated then it’s not my problem!”. Now I think there is an arguement for the institution or organisation to take that responsibility.

Q&A

Q1) I’ve participated in Change and I was a wee bit late contributing materials. I was excited to take part but it was rather demotivating as little was going on. Rather than Cheap perhaps Collaborative is more appropriate. Is that a better word than cheap?

A1) Yeah I think that’s part of it but I wanted to get at the fact that the institution should be involved. I think collaboration there would have to mean the institution also collaborating in the process.

Q2) Aren’t you trying to impose formal learning expectations onto an informal, lifelong learning space?

A2) I think I am questioning whether being able to self-direct is innate and whether this discourse of openness and access is actually right as these are not neccassarily innate things, that access to technology and understanding is not open, these are learned things.

Q3) I’ll come back to some of these issues but there is an interesting philosophical difference in France where courses were open and people can join and disappear. Perhaps this about opening opportunities for people to find out more and explore that learning but perhaps dropping out of these spaces isn’t a failure but a choice also.

A3) that is a fair point.

Wilma is now talking about the university of edinburgh’s innovative learning week which took place for the first time this year and our next speakers will be reflecting on that experience.

Case studies – Law less ordinary: reflections on Innovative Learning Week in the School of Law – Dr Gillian Black, School of Law.

I want to talk about one of our most successful ILW events. This was our Criminology photo competition organised by one of my colleagues who lectures on the criminology degree. She asked students to identify images from news, videogames, films etc. around crime and injustice. The challenge was to use the image and use text to change our expectations. This was set up on PebblePad and you needed to send in an image, text and the name of contributors. Students took images, shared them with commentary. And she also wanted this to be freely available and publicly available. You had to login to add images. But you could comment as you would on a blog. It ran from the beginning of January to he end of Innovative Learning Week. It was very popular.

I think the winning entry was an image on the idea of “Facebook Rape” or Frape. The success was such that Dr Suami is looking at running an exhibition of these images. And that reenforces that this didn’t just happen online but also was part of our offline practice as well.

Why did this work? Well Dr Suami is a very popular lecturer with enthusiastic students. And it was fun. But those of us who found it difficult to get students along in person perhaps will understand that an advantage of this activity was that students could take place at any time and on their own terms. I hope this will have a lasting legacy.

The other aspect here was that the activity did cross courses, engage colleagues, really brought the programmes together.

Followed by: Changing Atmospheres – The 1 Minute Film Project at the School of Geosciences. Dr Elizabeth Olson.

This project involved 5 academics designing this over two months. We set undergraduate geography students a challenge! We set them the task of recording audio and video separately and then making a one minute film about it. So there was a technology aim here. It was a two day challenge. We trained them the basics of filmmaking – a good shot, storyboarding, artistic outputs, sound recording. Sent them out for 5 minutes to capture stuff. Then we had a full day for capture. We borrowed tools – H1 and H3 zoom mics, HD camcorders that the department has for research. We used Mac Pro and PCs – brought in some extra kit of our own into a lockable room. We ended up using Audition (free software) for audio, And some of our free tools we used what software we had so Adobe Premier CS5 and Final Cut Pro – we didn’t have to induct them in any of the software really.

Feedback we had was really interesting – the storytelling aspect complimented everyday practice. A worrying comment that this was the most useful 2 days of the year! And another found it invaluable as an opportunity to explore the city as good geographers from a very different angle. We let students vote on the films so I’ll show them from least to most voted on films. [great wee films although speeded up scenes seem particularly popular]

We had increadibly popular feedback, a lot of students want to carry on filmmaking as a hobby, and students have talked about using film and photography into their assessed work. It was increadibly labour intensive, increadibly good fun.

After a short tea break we are back for some case studies which are just being introduced by Marshall Dozier

Case study – 2012: A MATLAB® Odyssey – Antonis Giannopoulos, School of Engineering. Abstract

Really I should have Dr Craig Warren, my former PhD student, as author, it’s all his work but he is on holiday at the moment!

So I will be talking about turning a traditional lecture based course into a largely online course. But lets start with what MATLAB is, how we used to teach it, why it needed to change, the aims of the new course, what new material was creates, what tools we used and some feedback.

So MATLAB is a programming environment for algorithm development, data analysis, visualisation and numerical computation. But it’s about problem solving, they don’t come in to learn programming for it’s own sake. We teach some sort of programming, usually in second year, in Chemical, Civil, Electrical and Mechanical engineering – we all arrived at MATLAB separately but as we were all teaching the same thing we though that we could really do something here to bring our teaching toether in some way.

We were teaching MATLAB through lectures and some computer lab-based exercises. If you aren’t a programmer or don’t like programming these lectures can be really hard to engage with. We can have live examples, movies etc. but it’s not hugely effective. Those lectures were ok but not very exciting. We wanted to change this a software tool you really only learn and learn through programming tend to learn through doing something as a hands on experience. So we saw this as an opportunity to really create engaging interactive material. We created a 5 credit module and use this as part of other modules. We wanted it to be online, self-paced, self-study model. Pass the buck to the students to take responsibility for working through the materials. It was very much targetted to those with no prior knowledge of MATLAB or with no previous programming experience. And we wanted them to learn to be competent using the most common features of MATLAB to solve engineering problems.

The tools we used were screencasts created with ScreenFlor and also a Samson Go Mic. And we have online course PDF assembled from LaTeX source – LaTeX is old tech but lets you output your material to all sorts of different formats.

The new material created includes a core comprehensive PDF with link sto lots of supporting material; self-test excercises; tightly intergrated screencasts linked from PDF – showing and describing basic MATLAB concepts and providing solutions to exercises.

You can have a look at the site here: http://www.eng.ed.ac.uk/teaching/courses/matlab

And I’ll give you a demo here of a screencast.

This course is being used in all of the different 2 year undergraduate courses across engineering. They develop numerical and programming skills and are being used really well. We have the courses as self-paced materials but they are well supported – my course we have 10 x 2 hour labs to work through problems etc.

Student feedback has been really good. We intentionally limited screen cast to 5 mins maximum so you go and do and practice as you work through the course. The course is available outwith the university. The screencasts are on YouTube. They’ve been live for 2 years so we’re starting to be able to analyse usage. We plan to publicise the course within UoE. And we want to use this course to develop similar material for other software tools that are part of degree programmes in engineering. And we want to look at other ways to make core materials available in more interactive ways – maybe with tools like iBooks for instance.

Acknoweledgement here must be given to the Edinburgh Fund Small Project Grant which helped fund this work, to Dr Craig Warren of course, to colleagues across Engineering and LTSTS for their support.

Q&A

Q1) You mentioned that MATLAB was really expensive and I was just wondering whether students have access to that software away from the lab as that can be really important for learners on self-paced courses.

A1) So the student version of MATLAB is available on all university machines across all labs etc. But students can also access MATLAB remotely via nx. It’s not as easy as it could be but they do have access whenever they need.

Q2) Any plans for transcripts for deaf students. And I think you could be making the course inaccessible to those students with those videos. And transcripts may help foreign language students.

A2) I haven’t thought about that particularly. I think that

Q3) You talked about analysing use -how are you looking at this and are you starting to look at student performance

A3) Craig is starting to do this. We have seen far better performance on final exams. But we need to do more.
Case study – Maps mashups as a teaching aid. Richard Rodger, HCA

I’m going to be talking about the AHRC funded Visualising Urban Geographies project. And I want you to imagine yourself as geographically challenged students here. We are great at the cultural aspect of history but I think we need to do far far more with geospatial perspectives on history.

Our objectives were to create a set of geo-referenced historical maps of Edinburgh, to reach a broader public, to develop open source software and avoid GIS…

And the contributions of my colleague Stuart Nichol and the staff at the National Library of Scotland’s Map Rooms – which is a fantastic resource – has been crucial here.

So we started with resource development. Maps were scanned and geo-referenced. One of the core issues to address was the thorny issues of boundaries and we wanted to make multiple types of boundaries available for all of these maps.

So maps have lots of historical information of course. I want to give you a few examples here. So looking at Edgar’s 1765 map we’ve given this topography – Edinburgh is certainly not flat! These maps have huge detail – looking at Edgar 1765 – so pick out something here, West Bow and Victoria Street perhaps, and I’ll show how this changes through 100 years of maps here. You can trace changes on the map and relate it to other documentary material and resources.

And then of course there is the chronological map – Chris Fleet of NLS is very proud of this form here, the map started in 1870 and gradually it grows to show the expansion and changes to the city over time, giving a 2D map a more dynamic feel that will appeal to a more general audience and their spatial awareness.

It’s probably evident here that our data is held in all sorts of different places… The Mapbuilder is all about address based history – census data, taxation records etc. So we used a geocoder to exploit these address based history. And we were plotting these points on a historical map – anyone can plot on a google map but it’s adding it to the historical map that adds important value here. So you can look, for instance, at clustering of addresses of solicitors in Edinburgh. When addresses have been geocoded they can be exported as a KML and viewed on a historical map. So the distribution of edinburgh solitors from 1861 superimposed on a relevant historical map. If we look at the same sort of group of solitors from 1811 we can see a move of location – that needs investigation. I think that’s very much about the change in practice in the law around this time, from lower new town to more central commercial areas.

Other ways to make this sort of data available to the wider public. So looking at James Colville, the Edinburgh Cooperative Building Company Ltd, the colonies and his walk to work in the 1870s – looking at this data you can see real social change over time.

Similarly you can look at James Steel, 1869 – Easter Dalry feu – and see the development of Haymarket over time.

Another tool we have here allows you to measure distance from the tool, you can see the trip of Colville’s walk around the colonies – the distance, the gradiant, the area of his travels. Very useful.

Of course addresses are one thing but also wanted to think about properties in Edinburgh. So boundaries and juristictions are very important here. So we’ve used our own data on properties here. One of the greatest contributions I think is in the definition of these maps – by creating shapefiles for these maps we can pour data into our thematic mapping engine. We can use those boundaries to express complexity in administration areas of the city. You have to imagine a mosaic of overlapping juristictions and some areas that are entirely dislocated from the rest of the city. For a historian to have that laid out so you can then plot data into those maps with the appropriate boundaries. Whilst we did it for Edinburgh it could be for any city really.

Q&A

Q1) How have students been finding these tools and what have they been doing with them?

A1) History in practice. Dissertations and advanced projects. 8 different types of case studies of that. Possibly talking to the converted here but they have responded really positively. And there is a community neighbourhood project in Wester Hailes that has found this work really useful and there has been lots of community engagement here. And there is also a project on mill sites in Perthshire that have also been using this data.

Case study – ‘Engage & Reveal’ project – Lindy Richardson, ECA

I’m going to talk to you about collaboration. The title should be “Reveal & Engage”. But after listening to everyone today I’m going to rename it “Engage, Reveal & Engage”. One of the challenges we have is about engaging our students. We artists can be quite separate in our practice until it comes to showing off – much of how artists use the web is about showing off our work!

So I want to start by talking about collaboration, working together to achieve something. Artists do get together whether virtually or in the flesh. There are loads of collaborative drawing projects line the Moly_x:an international moleskin sketchbook exchange – you can find this on Flickr. Artists draw and send on and new material is added. It’s a progressive linear collaboration. You contribute and it is physically exchanged and posted on the web. You haven’t actually interacted with the other artists though. It’s actually quite remote.

I set up a project in ECA to help students to understand how to physically interact with others’ work. Student one had two areas of pattern, student two had two different areas of patterns. And the idea was that they printed onto the print bed. Then for the second screen you had to print on the person before you’s work. They freaked out! The idea was about physically interacting and engaging with their fellow students’ work. We do lots of physical stuff in art which allows lots of handing on of work rather than collaboration – but you wouldn’t do that with one person researching something, another writing an essay, etc. So the idea here was that they engaged with and reflected on the process but still students in the printing project were mainly thinking separately…

So, I then set up an international collaboration project. This was British Council funded across cultures encourages collaboration through physical exchanges of materials from indigenous cultures. So we showed students Ayreshire needlework and Paisley paislies. Students responded to that original inspiration. And partner students in China did similarly, took inspiration and sent to us. And then the idea was to exchange these fabric pieces and we would add or subtract to these as part of the exchange. And what I expected was absolutely not what we got! So we sent a beautiful hand embroidered pieces and many of thenm came back quite crunchy, quite glued. Some of our students were quite upset by that.

So… Reveal and Engage… was a project at ECA to encourage our students to work together and to move out of their bubble, and to find synergies and common research areas. So we wanted them to contact each other, to engage in dialogue and to be collaborative. As artists and designers when we put up our materials online that’s our name, our work, and some text. So we did this event in the sculpture court. Each student got a 1.5 metre square space to pitch themselves. We taped out squares, they could pick their own area and sell themselves. You were speeddating each others work basically. Interestingly a few programme directors said no to this event. But when the event ran the students kept coming up and wanting to join in. I was a bit naughty and let them take cards and engage but not pitch themselves.

So the students required to provide a concise statement about your areas of interest and research focus. And examples of their own practice. It was really good for the students to think about that. So the students had a name plate with name, email, mobile number, website (where appropriate) and programme. In the second year we were asked for name badges though one student hated that. The students had to make 5 contacts. This was excruciating for some of them. It’s so easy to do this by phone, email. etc. To force them to do this physically was alien but was really really helpful. They had to make a minimu of 5 follow up meetings for discussion and potential development. Some were nervous about having too little interest, others were overwhelmed. Students quickly became aware of how effective and relevant their approaches were.

One of the most important things was to encourage students to enjoy the experience. to make contacts outside your area. And it will have huge benefits in the future. So here is an image of an ECA fashion show where students from textiles and fashions have worked together.

And then… ?

The challenges of working together became apparent. We set up staff surgery sessions to help with this and this also allowed you to work with both students at the same time, staff from outside your own areas. And that helped a lot as you can set up “collaborations” but as staff we often leave students to it and they need some of that support to make that work.

Some great collaborations took place – lots of fashion and textiles students working together, a great example of a performance costume and jewellery designer coming together. And the students really became aware of transferrable skills, particularly around communication, presenting themselves, being professional.

So how is the collaboration and the success of this venture assessed? We use the e.portal – we give feedback and the students have to also reflect on themselves and only then do they see both aspects of feedback in parallel, we use peer assessment, we had some sessions with the students themselves. But there are challenges here. Our students are very visual but they are not as keen to put their work into writing so this means we can have great projects and work from students but then their poorer performance on written aspects and reflection can effect their feedback or performance.

Next a project with concrete, glass and textiles in collaboration with Saint Peter and his collaborator as muse [I'm pretty sure that's wrong, correction to come], an incredible concrete thing. And we will produce something amazing marking collaborative forward direction with the University which ECA is now part of.

And now, to lunch!

‘Enhancing the student experience- Representing, supporting and engaging with our 20,000 members’ – Rachel King, Martin Gribbon and Andew Burnie, Paul Horrocks (in absentia), EUSA. Abstract

Through this session we hope to give an overview of EUSA’s activities and to give an idea of the practices and activities that IT tools have been used in our work. We had hoped that Paul Horrocks, a third year maths student whose work you will see, would be able to speak today but he’s tied up with exams at the moment but we wanted to acknowledge him here.

Our visiiojn is to represent the student voice effectively to the university and beyond, to support student academic and social wellbeing, provide opportunities for participation and development through student activities, and things like discounted food and drink etc. We like to be a collaegue, a critical friend etc. to the University. All students of the University are automatically EUSA members unless they choose to opt out.

Representation is really important, we have to show we are listening and responding and to know how best to support students. Our general meetings have had poor attendance in the past, often not quorate in fact, so we have, for the first time, run a referendum online this year. And we had an average of 2000 votes on each item versus meetings that would have perhaps had 120 students so that’s been a success we think. We do also try to encourage students to engage – we can seem like a strange and perhaps irrelevant interruption in studies. So we do things like supporting candidates for the student elections and telling them lots of tips and hints about how to run a successful campaign… [we are now watching a video made for candidates on how to deal with nice and very difficult students you are trying to engage with - on YouTube as Election Advice - Door Knocking; Election Advice - Lecture Announcements].

Representation is most effective when student led so I am handing over to Andrew to talk about a very successful online petition that he led…

So last year registry informed us that they planned to reduce the month of exam schedules down to two weeks, were really angry and upset as that crammed near 10 exams into a very short period. I am lucky, I’m a representative for my class so I could email student colleagues and to let the university know. We were able to get it increased back to a three week period. But that wasn’t great. Many students hadn’t heard about this until my email, they didn’t feel informed or consulted by the University. So I set up an online petition – I wanted name, I wanted to know about course and school to see if this was just an issue for me and my colleagues. Then I wrote some code to turn the responses into a spreadsheet and look at the statistics. I thought that we would have loads of Science and Engineering responses but we actually had loads from HSS. And we had good responses from first and second year students. The most responses were from Informatics, not surprising as my school and they personally had an email from me. And I got a lot of students on joint degrees commenting as they felt that their dual schedules were not properly accomodated. I also had Google Analytics on the site to see activity. I shared the comments that had been placed. Those pages were used quite frequently and students were really thinking about whether to sign it. It was first just promoted on Facebook by me and by emails to my school. On the third day I send EUSA an email asking for it to go to class reps. When you target emails at engaged people like class reps. And it went pretty viral on Facebook. So we saw lots more responses. And Twitter was useful too but not many. Most students use Facebook, a lot don’t use Twitter – but computer scientists do. So, we had all these responses and, with EUSA’s support, we got the decision reversed by Registry. So why was it successful? It was student led and that’s crucial. Well it was a petition about only one issue, it was focused and clear, but you could personalise it with the comments box. People could participate in different ways – by signing the petition, by sharing on Facebook or even coming to the meeting with Registry, allowing that engagement on lots of levels was really important. Back to Rachel…

One of the other things we do in supporting our members is the services like the Advice place – we offer accomodation, health, etc. advice and that’s all online now. And we have been working on outreach with a roadshow around the university campuses to explain what the Advice Place is and does. And part of that is ensuring their Facebook Page and Twitter pages are up to date. The Advice Place is now in the Dome with a lovely new centre. You can see that they are sharing information on Twitter about student support funds, condom deliveries, where to find them, etc.

Societies are a really big part of students lives here, there are over 160 and we have been setting up a database of all societies so we can train treasurers etc. And you can now engage online, join online, pay your subs online etc. Each society has a page they can update and let people know what they’re doing.

We also have a volunteering centre in the Potterrow dome now and students can come in or look online for volunteering opportunities. The volunteering centre can easily add opportunities and students can easily sign up. I really encourage you to take a look and think about volunteering opportunities you may have – there is almost no part of the university that wouldn’t benefit from some volunteering effort.

We also have various peer support services – there is an International Buddy Project, and a project called Tandem – for people who want to practice speaking various languages, just talking not academic stuff, and that’s open to staff and students. We also have a scheme called Peer Proofreading and it followed a pilot in recognition of demand among non-native English speaking students for reliable sources of help in proofreading student work. The proofreading is purely about spelling and typos, not about academic content. So the student submits some work, it gets sent to a trained volunteer proof reader, and they send back feedback and the student can meet to discuss issues etc. And there is a community of proofreaders building up – a Facebook group for them, we’ve been surprised about how many students were keen to train as proofreaders actually.

And we have an initiative called Path Finder which is about choosing appropriate classes. At the moment students have the DRPS only, it’s hard to navigate that system. And it also helps highlight prerequisites etc. The idea is that students and staff have coauthored course descriptions. Students can see both sets of information and can see the consequences of that course in terms of course eligibility etc.

So far they have the DRPS data and BOXE reports and we hope that Paul, who has been designing this, will be able to work on this over the summer and will be able to get some financial report to do this. And now over to Martin…

I’m going to talk about a Facebook page we set up for Freshers Week. I don’t think this is neccassarily groundbreaking but I wanted to explain why we used that approach.

This was a Facebook Group, called Edinburgh University Freshers Week 2011. It has 2131 members. The first post by a student was on 17th June 2011 and actually we had 1000 members already at 17th July 2011. Students really want to engage early in the year.

So why do this? Well students want to come together before September. It allows students to ask questions they might otherwise keep to themselves or each try to ask individually. So it allows students to share experiences and expertise. However a downside there is that not all answers will be correct so we have to keep an eye and comment where there is an incorrect answer address that. We use social media a lot but this is by far the most successful social media activity we’ve done, it’s really enhanced the student experience.

So to look at Facebook here you’ll see a typical question which was about whether or not accommodation services should have been in touch, it gets 26 replies and they find solutions and approaches. And we have another student looking for others on his course. And others share where they will be, finding out who will be in your halls etc. You also see students setting up their own groups for various accommodation spaces etc.

We have set up the Edinburgh University Freshers Week  2012 group already. They have to ask to join. I’ll accept them only if they are real people. Businesses we decline. But we’d encourage any staff who want to to join this group and help students feel part of the University. Back to Rachel…

Future challenges for us certainly relate to engaging with our ever-growing and diverse student body, and ensuring there are inclusive and accessible learning and teaching – podcasts and WebCT being of concern at the moment.

Q&A

Q1) Are you thinking about having any special focus on distance students as we increasingly have more of these

A1) Rachel: We are talking with the University about this. There is alo an independent group called SPARKS that support student associations who are also looking at issues around distance students and how to support them so we are engaging.

A1) Martin: Obviously Facebook and Twitter etc. are globally available. We do also email about events on campus and campaign etc. to all students, distance or not.

Q2) DRPS is not only difficult for students, also very difficult for staff too. The Pathfinder system looks great but how do you plan to keep information current?

A2) One of the things that Paul has been so grateful is that the school felt that to set this up they needed the ability to maintain and keep this system up to date. And there would be a student coordinator every year and to add new data every year.

Q3) Are there plans to roll out Pathfinder to other schools?

A3) They would very much like to. They have tried to design it so that that’s possible.

Case Study – ‘The Idiots Guide to Collaborative work practises: Author, The students’ – Victoria Dishon, School of Engineering

I’ve been doing some work with our students on how they engage with their academic studies using technology. When I started doing that there were significant discussions in our school about what students do when they receive an assignment from us. I didn’t say what sort of technology I was looking at. I just asked students about technology.

Someone from another organisation said that “Engineering does a lot of group work, do you provide collaborative software? What do the students do when you give them an assignment?” and although I had some ideas I wasn’t actually sure.

So to see why we do so much group work we needed to look at our degree programmes. And all of these are accredited b the relevant professional body (e.g. Institute of Mechanical Engineers) and as a result the activities and assessment is very structured. So I’ll show you our mapping of specific learning outcomes to the degree programme from when we were most recently accredited in 2008. So if we have a look at these learning outcomes the ways in which these are phrased clearly requires you to talk to others, to exchange knowledge. And there is a requirement to manage and participate in shared experiences, in group experiences.And that is experience that you need to have for the real engineering world. And you need to understand customer relationships and peer collaboration.

So, I decided, going back to that original question, that I needed to speak to my colleagues about this and ask them that question. And my colleagues said: well it’s difficult to say; it depends on the assignment; I don’t really care as long as it comes in on time; well they must talk and meet. Some of my colleagues know really well what their students do. And it does depend on how much they are involved with a specific assignment. But generally it wasn’t really clear.

So I thought did I ask the right question? Did I ask the right people? So I decided that I better ask the students… So normally if you send out a student survey you will get 10-20 responses from super keen people. But I got 200 responses!

So I asked if they were using social media or file sharing sites for a class activity or an assignment. 94.5% said yes. I asked about what they were doing with them. There were tick boxes etc. and also loads of comments. I’m happy to share the detailed data here and will be doing that with my school of course. Students were using social media to discuss how they use class materials. Students upload tutorial sheets to Dropbox or Facebook and working their way through the tutorials. They write their workings out, take a picture, share it, correct each others work, explaining what they’ve done wrong. etc.

Students responded that they do this all the time, it’s not part of their assignments alone, it’s a core part of what they do. They do a lot of filesharing – for varying reasons. Mainly they do that because email isnt very efficient and don’t want stuff lost in the email boxes. And they are creating shared materials, not just assignments. So they had more in their toolbox than we thought. Not hugely surprising but the data is super helpful. We have decided we want to explore this more. I originally sent this survey to all our students. I followed up the survey asking if students wanted to come and chat and follow up on this. Seven students came to chat for half an hour, most went on for an hour and half in the end. All of those students were happy to work with the school to develop tools to help them with their learning. But that was a very self-selecting groups.

So some examples…

A 1st year Civil Engineering student has a laptop and smartphone. They are part of her life – not just her studies. She uses facebook every day mainly for social activity and she uses it as a lifeline to back home in Aberdeen. And that link was really important to making her feel her at home at university. She is also happy to join in work on there. There is a year 1 Civil Engineering FB group – they gossip, they share class info etc. Its set up by students themselves. She did join in a FB group for sharing documents and discussing an assignment. After that completed that group stopped. She uses dropbox as more reliable and harder to lose than a USB stick, She uses text messages to arrange personal and academic meetings. Not a big fan of email – it doesn’t seem personal enough for her. She’d prefer phone or Facebook.

A 3rd year Electrical and Mechanical Engineering student is a class rep and uses technology across personal and academic life. He use doodle to arrange meetings with email confirmations. He uses Dropbox to manage all files and to co-create academic materials. He doesn’t use his school file space at all. He also uses Dropbox to upload tutorial questions and past exam questions. And they use mobile phone or iPad camera to share notes etc – that was much more widespread than I realised. He regularly creates and managed FB groups, managing a University of Edinburgh Society page including advertising. And he uses FB to plug gaps in the knowledge between his two disciplines that are not fille sby the academic materials.

A 4th year Electrical and Informatics student. He considers himself to be completely digital, uses a laptop and mobile. He sees everything online as his front space to the world, that it is his personal brand, and how important he thinks that is. He uses Google docs, dropbox etc. And he’s created loads of spaces himself here.

So the commonalities here…

  • Ease of use
  • frequency of access – want everything when they need it and where they are
  • consideration of the tools that met the differing academic and social requirements
  • all demonstrated levels of understanding of privacy and security issues that suggested these had been considered before I spoke to them
  • all consider these tools to be essential to their acadenmic work set
  • the development of these strategies happen mostly without UoE staff directio or guidance, through peer discussion adn actions.
So… what do they do when we give them an assignement? They go out into the world and gather their digital office tools, on a bus, at the flat, in the library or in the computing labs,. They work together, they work separtely and they share. And they do a great job of this without us
Q&A
Q1) This sounds very positive but are there students who fall off the edge here..
A1) We had a real mixed set of responses. Some students were struggling and didn’t want technology forced on them. One of the students – the one that created the 3rd year mech eng FB group. There were 102 students in that coure, and 98 were in the group and the four students were being sent that material separately to keep them up to date.
Q2)
A2) We try to provide flexible students who have the knowledge to go out and find the materials needed for any task – whether an assignment or any other challenge. We are saying to them here is the way to identify the problem, find the right tools and find the solution. So it’s about giving them the skills and toolsets to address any number of issues.
Q3) By the time you’ve reacted to what students say they want they will have moved on… or by formalising that space they will move on because they don’t want you there surveilling.
A3) I would quite like to have shown you the FB groups students use so I asked for permission but they said no. It’s their space. If they want us to help they will ask that, or many will. My concern is about those who are not confident to do that. But us going into their spaces is an issue, it would put them off. It does raise real questions of how you support technology and what technology you support.
And after a short tea break it’s onto the next session…

Case study – Digital Feedback – Dr Jo-Anne Murray, CMVM Abstract

I’m going to talk about some work we’ve been doing out at the Vet School. Some of our students are engaged in online distance education courses so when I talk about digital feedback I’m talking about distance students in particular.

Interaction and communication is key to engaging students in online learning. This is really important when you look at the literature. So it’s about building a community learning experience. So we provide virtual lectures that can be accessed asynchronously. We have a virtual classroom that allows realtime interaction between students and the instructor. We also have text based syncronous discussion. And we have our own virtual campus in Second Life for students and interactions between students and instructors.

So we do provide an aspect of ongoing feedback. But when we come to assignment feedback this has typically been text based and has been delivered by email or through the VLE. Feedback enhances learning. Hand-written comments can be given weeks after submission. And when we think about students perspectives of feedback and the National Student Survey our students are not all that satisfied with the feedback particularly the timliness of feedback, the level of detail and the comprehension of that feedback.

We have lots of work on feedback for traditional students but there has been pretty limited work on the role feedback plays in distance education. Most studies have only examine text-based feedback. And can be limited due to lack of verbal and non-verbal information. Two important factors here are social presence and the sense of instructor interaction, things like friendliness, humour, ways to let the student know that the instructor is concerned and interested.

So thinking about digital technologies… we could use audio, screencasting, webcams. Although quite limited there are some programmes using digital feedback in HE. And this potentially gives us an opportunity to provide richer more detailed feedback, more comprehensive feedback, more timely feedback (but not taking more time to produce), nuances conveyed through tone of voice and use of learning. So hopefully enhancing the relevance and immediacy and usefulness of feedback.

So our case study here relates tio the MSc/Dip/Cert in Equine Science. This is delivered part time over 3 years. And it is delivered using a blend of online learning methods, through asynchronous and synchronous discussion. Students enjoy and thrive on quality unteractions and we really try to promote a sense of presence in the teaching. But feedback on assignments lacked that.

So we trialled feedback on dissertation proposal assignment. We used screencasting software called Jing to deliver this digital feedback – it’s a free to download software, it’s easy to use and it’s less time consuming than generic feedback sheets. So if I play you an example here you can talk through the feedback but also highlight relevant text and the key areas being discussed.

We asked students for feedback. All of the students reported digital feedback as helpful and preferable to written feedback. Felt it much more personal and helpful. Some also found seeing the text being discussed particularly helpful. In terms of improving the students work many of our students felt that it did improve their understanding of how to improve their work. All students said they would like this type of feedback again. Most found it was easy to access, we supported those who had more difficulties.

In terms of tutor feedback and how I found it it was very easy to use, it felt more personal to each student, probably included more detail – I was able to explain to a student how to improve her work far easier through talking than through writing it down. And less time consuming.

In conclusion I would say it’s a very valuable tool for providing feedback. It was a very positive experience for both tutor and students. And it really enhanced the quality and timeliness of feedback.

Q&A

Q1) You used JING, I suspect that it was stored to their own server… so who has that recording. Are there any issues with that?

A1) You have to watch out how you upload the recording to the servers but you can make it private to a specific URL. I have downloaded those files to our own servers as flash files so they could be deleted if we wanted them to be.

OER, OCW, MOOCs and beyond: open educational practice European research & Discussion – Professor Jeff Haywood,Vice Principal Knowledge Management and Chief Information Officer.

What I’m going to cover is to quickly look through OER, Open CourseWare, MOOCs etc. and educational practice, and to speak about what we do and don’t do here at the University of Edinburgh. And to end on a set of slides on economics.

If you want to read the best text on this it’s Taylor Walsh’s Unlocking the Gates (available free from Ithaca). So OER or Open Educational Resources… it is an area of real interest to those that are in th eeducation for development and developing nations etc. so organisations like UNESCO etc. have funded these. And funding from HEA, JISC, Jorum etc. have been important to the creation of OERs. And people like Open Nottingham and Leicester for instance have really stepped into this. We have tried before and may want to revisit.

What is OpenCourseWare is kind of a hodge podge of resources, many of incomplete. MITs set are rated quite highly but many of the resources that are referenced are not open, you cannot do the readings here. There are standards coming through here… there is development of ISO standards takiing place. And the Open University is one of those who have stepped into this domain and into free courses and the space of the MOOC. The thing to note here is the idea of fully automated courses. Standford’s first course here was CS 101 and if you see their FAQs you are entirely walled out of the institution and you get no credits for the course. MITx awards you a certificate but not tradable in the academic exchange sense. And ChangeMOOC which is about the converted learning with the converted.

I also wanted to talk about Coursera which is a Stanford spin off. There is a question here for Edinburgh… do we build our own. For us we think it makes sense to join in with an existing leader so we are talking with Stanford adn Coursera to open that up and looking for volunteers to build materials for that space.

And I wanted to move on to OEP – Open Educational Practices. The OPAL website (oer-quality.org) and this is about thinking about what you might do and what you might need. In terms of structure and need you will find some super thought provoking discussion in the documentation there. There is a classification scheme with a Low to High Learning Architecture scale and an OER Usage scales rom Low to High. So for an institution you can conciously think about conciously where you may want to be on that spectrum.

The OER University – also mentioned earlier – one of the crucial things here is that it is going to be cheaper for the learner – there is a note there for cheaper rates for assessment and credit. So it has the model of learners learning from OER, supported by volunteers, then open assessment from participating institutions, then grant credit for courses, and students are awarded diplomas or degrees [Jeff is showing a diagram adapted from Taylor 2007]. So we are seeing some decoupling of the institution here…

So I have been working on a project, OERtest, with Hamish McLeod, Sue Rigby and others, looking at how one can go about testing knowledge from OERs. And the guidelines we’ve been building up are concerned with entire course-modules offered as OER – the OER must be an entire course unit/module with full course materials, LOs, guides, assessment protocols, supporting documentation, equivelent to a unit/module offered in any HEI. It is intended for units which have been made available entirely online in one space. So it’s perhaps more like a MOOC.

We have several scenarios here. One is an OER traditional student who attends our institution, studies OER modules, request assessements, then use credits within the same institution. Many were nervous about that but seemed like the most straightforward idea.

The next scenario is an OER Erasmus which is the notion of a student completing a course from another university that is used at home institution – a Stanford CS module say as part of an Edinburgh programme.

Another scenario is an OER RPL is not a student at all, studies OER module from… whereever. And requests assessment from our university and uses credits from our university. This is very much like recognition of prior learning. It should work with relatively flexible institutions. But if you look across Europe some organisations regulate that sort of possibility and process and indeed regulate the cost for those sorts of work.

So the critical bit is you have to understand where in the qualification framework you will define yourself as an institution. You decide the level you want to work in. And how many credits you will assign to the work to be done. And then associated with that when you issue the marks you have to tell the people who are receiving those credits how the credits are acquired. And all of the students that graduate have a certificate explaining how the teaching took place.

So…. we took the proposal about teh University offering credits for other learning to the Senatus Academicus and actually they were quite unphased, as an institution we have real confidence in our ability to ensure that the right process takes place to ensure that we this properly if we decide to do it.

Economic Models..

OER

  • cost for HEI is the sum  of value of all inputs needed to design, develop, maintain course materials and delivery platform plus ensure visible.
  • return on investment – reputation, increased applications, signals quality, pro bono service, complies with current ethos
  • Cost for learner – not a lot of evidance that suggests that the value to the learner community is significant. Time to use, need to integrate into other learning.
  • ROI for learner – additional learning materials for course or pleasure. There is some evidence that users of OER are already students looking for additional materials.

OCW…

MOOC

Cost for HEI: again as per OER plus lite-touch tutoring/support and lite-assessment mechanism for certifiate (if offered) and “advertising” and keep pushing these courses.

ROI for HEI – all of the above but stronger, arena to “practice” OEP – and that’s a place to play that is separate from your main institutional practice

Cost for learner – as OCW but more structured/demanding – and that can mean more drop offs/out

ROI for learner – closer to the “educational real thing”, possible “proof” of competence as certificate – not a trivial thing in some parts of the world, It will cost you ££s for your certificate but that proof of competance is fairly inexpensive and may be well worth that investment.

So… ROIs on accreditation of OER-based learning (=MOOC+Assessment+Accreditation)

The Cost for HEI:

IF (unbundled curriculum = 0)

ELSE (course materials/tutoring = MOOC)

+ full assessment for credit + ward)

ROI for HEI = as MOOC + ££s for assessment/accreditation

Cost for learner = time, ££s

ROI for leaner = accreditation, certification and the pleasure of learning.

So… the cost implications of OER-based learning… Well…

  • Level 9 UoE course = 120/6 = 20 credits @ £9000/6 = £1500 if taken “normally”
  • Cost to assess learning achieved = 1 day work – £300/£600 (gross salary/fEc)
  • Cost to validate/award = 1 day work = £300/£600
  • Cost to learner for 20 credits = £600/£1200

So cost only low versus normal course. So if we want this to be cheaper then the assessment must be lighter, must be different from normal assessment. So needs to be lighter and automated. Which is great for competance based courses, not so much for qualitative courses.

And finally… we know what it costs to do it… what are we going to chage for it. The price can be set for any number of reasons…what can the market bear – which is important for most of our courses and why the business school charges twice as much and dentists can charge even more. And then there is the impact on current offerings of price differntials, small or large. Impact on reputation for quality. Loss-leader approach? Purposeful cross-subsidy for pro bono services etc…  How do you position your institution?

Conclusions – well there are spaces that you can experiment and play with in th ewider educational ecologies for traditional universities. Change in education has been slow, perhaps leading to complacency, or at least low agility. Awareness of why one is there is important for reputation and sustainability. There really is no such thing as a free lunch both for universities and learners.

Q&A

Q1) I don’t think I agree that the crunchy bit of the issue is the economic issue, I’m concerned that the MOOC movement isn’t going back to 1990s style automated learning and isn’t very pedagogically interesting.

A1) I agree to an extent if we’re talking about what MOOCs have largely done to date… a lot have come from computer science and engineering type disciplines where there are competencies that can be assessed in more automated ways. But you need to get the learning outcomes and credits right here and a trade off between the types of course you run in these spaces versus in person courses.

Q2) My issue is about what kind of learner we have in mind. Getting into the university has a bunch of pre-requistites, that’s partly about fairness of admission, partly to make sure students are able to complete and succeed in a course. If you create a course that anyone can take we might as well just open our doors.. that’s one of the implications I think. Isn’t there another or better way to tackle disadvantage of access. Should we provide a bridging process.

A2) I think those are legitimate concerns. But it depends on how you view entries to a MOOC. Participants only get assessment at the end of the programme, that’s one part of the answer, and the other is that this model is predicated on crowd-sourcing the answers to your questions. We shouldn’t assume we have to have the answers to everything. Maybe answers will come from knowledgeable others. Perhaps you moderate them, But it’s not your responsibility as an institution. It’s a different mindset to the one behind our closed gates.

Q2) So how do you manage those expectations?

A2) Well the key thing is it’s a different experience I’m talking about here.

And finally…

Dr Jessie Lee is closing the day for us with thank yous to the speakers, to the committee who have put today together, and information services and the Institute for Academic Development, and lets thank everyone who came along today as well.

And with that we are done here… lots of interesting stuff today and lots of thoughts and ideas to follow up on.

 

This afternoon I’m here at the University of Edinburgh Business School in George Square to see Professor John Lee, of ESALA, Edinburgh College of Art and School of Informatics giving his inaugural lecture Learning Vicariously with Rich Media.

This is a liveblog and so all the usual caveats apply about typos, errors, etc. Please do comment below if you have any corrections you’d like to add.

We are being introduced to the lecture which celebrates the appointment of Professor John Lee to the post of Personal Chair of Digital Media. John works across both the School of Architecture and Informatics and blends those areas of expertise effortlessly. His interests include areas of design and cognition in design and learning and he has devised a method in order to film events and seminars by students so that they can be viewed again to reflect and engage that lecture which seems to have application across the university. And now over to Professor John Lee.

So this might be a confusing title on various levels so I will be coming back to that on various levels. I’ll start by talking about rich media, what they are and why we don’t make better use of them. Then I will be talking about vicarious learning, a topic that I and a number of other people have been working on for quite a while. And I’ll be talking about how this interacts and connects and can exploit rich media and technology for learning. I’ll talk about the system mentioned in the introduction, YouTute. And then I will talk about some further possible applications and future directions.

Rich Media Resources
What do I mean by that? Mainly audio and video really. Obviously there are many other types of media one might work with but I’m really interested in media which may be available, especially on the internet, media we can engage with. Audio and video are key but these media can be augmented by various other types of information – but they may be augmented by links, say to each other, or other forms of information or data. So annotation is a form of linking of media to other data. Tagging and cross referencing can be included. Commentary and discussion can be included. And there are a wider variey of internet resources that they can be connected to.

So when I talk about rich media I mean video, perhaps audio, but with these sorts of associated materials. And really rich media are not very common. The potential exists for exploiting these far more than they are being used at present, particularly in education. I think it would be useful to develop the potential for using these in a far more substantial sort of way. So I will not just be talking about my work in the past but also how we may use this sort of research to take forward these media in more fruitful ways.

Examples of rich media include YouTube which includes lots of less well known functionality such as annotation. So if we look at the video “hug the world” for instance we can see text and hotspots throughout the video. And those hotspots link to completely other videos. That is potentially quite useful type of thing that could be exploited, for instance in education. But they don’t seem to be widely used. You don’t see that many videos that use this functionality in videos on YouTube. Even those using video in teaching tend not to use these.

YouTube Preview Image

The other thing we see now is the capture of University lectures in video – like this one. Most lectures in Informatics, many others across the University and tools like iTunesU collate collections of videos of lectures. But it seems to me that these are not easy to use collaboratively or creatively. Looking at this video – it happens to be me lecturing – we can see indexes into the video automatically provided by seeing when the image changes. You can jump to various points in the lecture or a point where something is discussed in the notes. There are various different things one can think of that you could link to. So there is a useful layar on top of the lecture here – that’s quite a useful layar of rich media. So we can watch the video and move around it but we can’t do much else with it, we cant take pieces of that video and use them somewhere else for instance. The technical barriers seem overcomeable but something is stopping people making more creative use of this sort of video.

So I think we need new models of how to do this. Models of reusing materials in elearning is hardly a new topic. The old models are based on teacher-led creation of “learning objects”. There are standardised systems for development and re-use but they have never really become ubiquitous. You can find all sorts of collections of these but people don’t really use them that much. I think that’s partly because they are not always that easy to use but also because they tend to be built by teachers and particular ways that teachers think. Quite often teachers differ on these things. So often you find that University teachers have a strong tendency not to reuse other University teachers’ materials.

But i think we need to move away from that model and towards a kind of learner led recruitment of materials – from the web in particular. Learniers can search and discovery materials, to rework those materials and to share and collaborate around these materials to achieve search and discovery. And this is where we can see improvements. And technology can assist with the recruitment process here. So Google can help, the semantic web can help. But also within rich media there are opportunities opening up – such as the automated indexing of a lecture video. But there is more we can do as that’s just quite a simple example. But perhaps we can look at the speech in the video, at what’s happening in the video, what’s on screen to automatically interpret rich media.

So we can move away from passive consumption and use rich media to support activity, reflection, construction in an inquiry-led processes and to support the development of distributed collaborative learning through social networking. In particular what learners need to be able to do with these materials is to get engaged with these materials in some way. And we need to enable this engagement for distributed learners – they may be distributed geographically, distant learners, or they may be distributed in a more social sense. But tehse learners may be those that it can be difficult to get engaged in the learning process. And one of the things we’ve looked at in the past is using engaging learners through vicarious learning…

So what is vicarious learning? Well it’s learning from exposure to the learning experiences of others – e.g. students learn by watching other student’s problem solving in class. e.g. mast classes, design crits, etc. So this is where students discuss a problem and there is an audience – that might be a small or a large audience. Even without active participation vicarious learning arises from active listening and watching, it’s not just observational learning but active listening and watching, but it differs from observational, it’s not solely about observing expert performance. So the audience doesn’t just watch passively, but may not be part of the dialogue, but they are an active part of the process. So it’s somehow based on access to the learning process.

And vicarious learning is something that is perhaps done using technology. For instance a learner can watch another person engaging in a learning process.

We had a research project that aimed to attack this problem, this was some time ago. This was work with several collaboratoes funded by ESRC/EPSRC with Terry Mayes, Jean McKendree, Richard Cox, Keith Stenning, Finbar Dineen. And the project focused on capturing dialogue around specific problems – so in such a dialogue the process is exposed. These dialogues would be rated for the quality of learning content, matched to specific needs of learners, implies use in a controlled perhaps “intelligent” environment, which was difficult, and often based on “task-directed discussion” (TDDs) – which don’t always arise in tutorials.

The outcomes of this work kind of highlighted things like the benefit of exposure to student-student discussion. We were able to comapre these with tutor-student instruction, so if the tutor expounding material to students it was much less valuable to the students than a discussion in which the students perspective on the material was highlighted. If students discussed the material one found out how they were processing and understanding it. And students found watching “strugglers” most useful of all, though an uncomfortable thing to view.

The vicarious learning was effective in promoting reflection/discussion. And there seemed to be both cognitive and social benefits. And impact especially from modelling of dialogue skills and empathi identification with other students. There was less clear cut evidence for “domain” learning but there was potential importance for distance learning (and others), and it was an aid to “enculturation” into a disciplinary framework – exposure to the language and culture is harder to do in distance contexts on the whole. c.f. Laurillard, Schon etc.

Another collaborative project, VL-PATSy, funded by ESRC TLRP and working witH Richard Cox, Susan Rabold, Rosemary Varley, Julie Morris, Kirsty Hoben.

There was already a system called PATSy used with trainee speech therapists for diagnostic practice/training. This might include video, medical history, test results etc. These kinds of things could be augmented with other resources. And we augmented the materials with vicarious learning materials – TDD-based dialogues and interventions based on sophisticated student model. It was fairly effective but it was complicated and expensive to construct – it was a major 3 year project to set up and to repurpose it would also have been complicated and expensive. So we thought it might be more fruitful to try another approach.

So this other approach was around the idea of recycling stuff. Collating video recordings, of tutorial groups for instance. Then make these videos available to other learners – either automatically or manually by topic. And students could customise through selecting and annotating those videos. This is the idea which has become, with funding through the Principal’s eLearning Fund, “YouTute”. For this project we had Susan Rabold, Neil Mayo, Jon Oberlander, and Stuart Anderson involved.

So the idea was to recycle tutorial activity, captured on video. And then students would themselves be responsible for highlighting the useful aspects of these. We thought the effects might be enhanced if learners could edit the videos to pick out specific points, to annotate the videos to highlight issues, to rework the content for deeper learning. So looking at a capture of the main prototype system – this includes various video clips, notes from the session, topic and tags etc. This is an old version from perhaps four years ago but you can see we can view video of the whiteboard, we can see the tutorial roomm and we can see a camera looking at the smartboard. The students can actually use this to relive the tutorials in some sense. Either tutorials they were involved in, or those they weren’t involved in but on a topic they are looking at.

One of our undergraduate students, Marcin Bot, suggested a redesign of the system – a more student friendly interface intended here, bigger buttons, access to segments of video etc. But he didn’t feel this material was easy to rework particularly. This interface does help you access shared “tutes” (or create new ones) – these are the nuggets of tutorials on particular topics etc.

So this was quite a useful resource. We worked with it for several years whilst funded to do that. And some useful observations came out of that process. In particular that it was especially good for students who had failed the exam – they found it very useful for revising when away from Edinburgh. That seemed to be very useful for them. So I think this system could be taken forwaerd and developed. And improved with individualised tute collections, more developed social networking model, more interactive virtual editing of tutes, integration with recorded lectures, more streamlined collection and back end process etc.

So, I just wanted to finish by going back to the idea of really rich media. It’s not really new. There is plenty of work on mashup and remix culture. There are things like iMovie, the Open Movie Editor, Diver (stanford) – this was developed in Stanford and it’s quite a nice idea, it allows you to focus in on parts of videos, on some elements of a video and share that, jumpcut.com – used to allow you to edit online, it was purchased by Yahoo! and subsequently disappeared. But recently a thing called Adobe Premiere Express lets you do something similar – an online video editor. That’s the sort of thing we should pay more attention to but this is proprietary and probably expensive [note from Nicola here: YouTube does also include the facility to edit video online now].

So in future I’d like to see the development of integration of these sorts of ideas with learning systems – I have an EU proposal in train at the moment. I’d like to see improved automated annotation of video – recent and current work in Informatics on segmentation etc, using speech and/or image processing. And we could see this applied elsewhere, such as in schools, such as work with Tom Kane of a local company called Prescience Communications. So recently I’ve been working with Tom’s project and playing with the idea of a sequence of clips which you can move through, capturing the feel of jumpcut.com. This ability to personalise media in different ways would be useful for schools students in particular.

Q&A

Q1 – Richard Coyne, ESALA) Seems to me there is an issue of professional presentation or lack of. These days you have kids recording themselves in their bedrooms with great charisma, great thought of setting. Does a lack of professsionalism in these environments matter?

A1) I don’t think it does. So this work here is bringing external organisations into schools – in this case it was a discussion of the classification of films. It seems to me the important thing there is the quality of the discussion. The visual presentation isn’t neccassarily a concern. So we had a top quality of speaker here, these are the things that matter really. Exactly how the film appears isn’t neccassarily the first consideration here. If part of the discussion itself is

Q1) You and I might think that but what about the poeple this is directed at, the audiences.

A1) Well we’ll find out. It seems to me that students and audiences etc. it seems to me that audience are hugely accepting of varying quality of recordings. That first content on iTunesU you’d have very mixed quality filming, discussion of tutorial arrangements etc.

Q2 – Simon Higgs, BPA) Play, we all know how important play is in early learning but presumably it is also very important in vicarious learning and I was wondering how this relates to rich media learning and virtual worlds and games as a rich media space for vicarious learning.

A2) Certainly many people have looked at games and learning, Serious Games etc. In the rich media context I’m not familiar anything specific on this but in this area it certainly seems to be important, mashing up materials is about learning and about play at the same time, there would be an inevitable element of play that would be motivating in that activity. But how one seeks to exploit that more actively I’m not sure.

Q2) I think Richard’s comment about design is important there.

A2) Yes, you might be right. And one of the things that Marcin altered our design was to perhaps make it more playful.

Q3) I wanted to ask about incentives. Often things are most successful around examinations – so we get huge downloads of materials near exams, Youtube is heavily used then etc. What do you think you would need to incentivise wider use of these things? How do you reward students for co-producing materials that have high production values perhaps?

A3) One way of incentivising students is to give them some sort of credit for doing something, so that was one possibility that we considered at one point, that we could built some of these activities into their assessment. I would like to think that just the idea of sharing and co-create these things between each other, that this would be a resource to be their own in their own way would be motivating in itself. But I think it’s an unsolved problem really in this area generally, as to how to get those online activities of community to work properly and then stop working – they fizzle out, people drop out of the activity. But that is an interesting and unsolved problem in elearning I think.

Q4) On that point it seems to me that this seems to be something we would develop top down, that we’d need to develop special systems for this. Don’t you agree that this idea of students learning together and sharing artefacts is commonplace and is happening almost in a bottom up way, with people following each other on Twitter and so on.

A4) I agree to some extent but it’s patchy. I think with better tools and better context we could help them to do that. I think with things like Twitter and specific Facebook groups etc. these things exist but they are isolated phenomena to some extent.

Q5) Some of your interfaces are very media rich, how easy is it to divide attention when you have that going on – notes, lecture video etc. What’s important here?

A5) It’s a good question here. The interface I showed to the online lecture, often you don’t need the picture of the lecture, that’s probably not what students will watch, mainly they will focus on the main screen, probably the smartboard. Sometimes you want to see what’s being pointed at. The audio and main presentation screen are the main thing.

Q5) And diver with it’s zoom in?

A5) Yes, I’d like to built that in. None of these things are terribly hard to do. It’s not hard to code these things. It’s interesting in a way to me that we don’t see more being done with them.

Q6) I was quite interested in your comment about students learning more from struggling students – what going on there – is it that they make their process more obvious? is it about comparing your own understandings?

A6) Some of all of those. You benefit from seeing correction, from comparing understanding. It seems to me there is something quite useful about the affective side of this – empathy draws them in to focus on the solution in a way that a tutor with a blackboard wouldn’t do.

Q7) It seems emplicit in the name rich media that these are good, these are rich! But I find I use video as little as possible – I’ll see it if there isn’t a paper that they’ve written. I’d love to think that students watch me lecturing on video as the best medium but I’m not convinced that that’s not as valuable as looking the same thing up in a textbook.

A7) That’s fair, not all media needs to be rich. There are a lot of situations in which various elearning tools are in use where a blackboard might be equally effective or better. I’m not saying these are the only or always the best way to do education but they do have a value. But they do have a value for distance learners and it seems to be that seeing video of an experience is useful for those that were not there in person. It’s an attempt and not totally supplant other types of approaches but to make the best use of them that they can.

Q8 – Bruce Currie, formally of the Digital Design course) Enlightenment philosophers defacing images of god, the modern version of which might be the Taliban defacing images of Buddha in response to which it has been suggested that laser projections of Buddha to build peace. Do you see students using rich digital media to solve big world problems?

A8) I don’t know, I hope they may.

I am just about to take part in the RSP webinar on Web 2.0, Creative Commons Licenses and Orphan Works being run by Prof. Charles Oppenheim.

This is the first free RSP – Repositories Support Project – webinar and we are just hearing an introduction from Nancy Pontika. The webinar is being recorded and both the PowerPoint and the webinar recording will be available online after the event. For that reason I’ll just be taking summary notes here and linking to the recording when it goes live.

Charles is now beginning here. This talk is based on one to the UK Electronic Information Group – it was one of two and we will be having a second webinar on the other title as well. He assumes those listening are

Charles is using a definition of Web 2.0 from Wikipedia – I note that Time Berner-Lee calls Web 2.0 “a piece of jargon” – which is fair enough to the extent that it is all built from existing technology. The key difference is the interaction between users.

There are some novel copyright issues here though. There are multiple collaborative players, and related to that, it is often international with contributors all over the world. In many web 2.0 situations few of the people involved know about or care about copyright – indeed Charles says some of them have contempt for copyright.

Copyright does have provision for jointly owned works: this is where the work is jointly owneed when more than one person has collaborated in the work’s creation and it is impossible or difficult to distinguish who contributed what. So an email thread may be jointly owned for instance but usually they would be a set of smaller singly owned copyright. But something like Wikipedia is clearly jointly owned – many contributors editing each others work. But the problem is that when you have something jointly owned any one party, any one contributor has a veto – they must all agree to the licensing of the outputs. No reply to a request also has to be taken as a veto. And that point actually extends to copyright in general. When you ask to use material there are three possible answers: yes, no, and no answer. Only a “yes” means you can use the material. So if 9 out of 10 copyright owners approve reuse of material but the tenth does not then that material cannot be reused.

The lifetime of copyright in most work is typically 70 years after the last of the joint owners have died. It could be a very very long time. So if any of you are involved in Web 2.0 tools it would be good to have terms and  conditions that do allow appropriate licensing for their material.

Other issues with web 2.0 is the difficulty of policing such sites – so on something like YouTube there are many many content owners and only some motivated to police that. Again Charles says that many Web 2.0 users have contempt for copyright. And he also draws us to the notion of “Vicarious Liability”, which means that things done by employees/students may have legal repurcussions for the employer/institutions, who may not have been aware of what was going on – and that applies to everything, not just Web 2.0. The risk is high in Web 2.0 because of the risk of copyright infringement.

Moral rights allow the author “Paternity right” – but you must assert that. If you do then you are the author of that work and your name must also be associated with that work. You also have a moral right to protect yourself from “false attribution” where that could damage your reputation etc. More importantly there is also “derogatory treatment” – a protection for using your work in any way that misrepresents you, quotes you out of context etc. Note that moral rights cannot be assigned to someone else. But they can be waived. Moral rights are very important in a Web 2.0 environment – you need to identify authors, to make sure you quote them appropriately etc.

There are also Performers Rights – these cover things like musical performances, dances, acting, lectures, etc. You must ask permission before making or reproducing copies of the performance – and the performer can choose whether or not to grant that. A podcast is a recording of a performance. To give you an example of a case at loughborough – a professor in an engineering department sent Charles a video on YouTube that was prefaced by a comment “the world’s worst lectuer” – it was a clip taken in a lecture on a mobile phone, showed some of the audience. It wasn’t a great lecture but that’s not the point, this infringes his performers rights. I replied that yes, it is infringing your performers rights as only you can give permission to record (except in the case of a student with a disability to use for their own studies), and certainly you shouldn’t add it to YouTube before getting permission!

If this all alarms you then help is at hand – there are a whole set of webpages from the Web2Rights project, a JISC funded project (http://www.web2rights.org.uk/) to help people with legal problems associated with Web 2.0. It’s such a good resource that it’s useful for any legal and copyright issues around Web 2.0 or other digital  information. It includes a ToolKit that gives all kinds of background information. It can help you look at all sorts of IPR and Licensing Issues. And the whole website is provided under a Creative Commons licence. You can use, adapt, remix, rebrand etc. as useful. You can implement policies in your institution etc. You just need to attribute the source. There are tools for Library and Information Services staff and policy teams.

That site also looks at Risk Management. In general copyright is all about managing risk. You have to be proportionate and pragmatic – be diligent and reasonable. You may be happy to take a low risk, but if something is very high risk you probably will not want to do that. Strategies should reflect and be reflected by employer policies – some organisations are much more risk averse than others. You also need to educate your users about copyright and avoiding infringing behaviour. If you do find you receive a complaint on infringing copyright then most importantly you must respond and take some sort of action – don’t ignore it or do nothing.

To mitigate risk you need to make sure you have mechanisms to take down content and do this whenever you receive a complaint. Then you should look at whether the claim is substantiated or not – it may be that you put the content back again, that may just require you to attribute the content, or there may be a fee for use, or it may be that it has to be removed. You should apologise as appropriate, have a rapid take down procedure and be aware that organisations usually have insurance that may help with charges/royalty fee issues.

So, onto Creative Commons. Lets start with a reminder of how you can copy under normal copyright law. There are exceptions within the copyright law – use for fair dealing, ability to make a single copy etc. Secondly you can use material where the owner has explicitly waived copyright – or has given a Creative Commons or similar free licence. Or you can buy a licence from the copyright owner or someone who acts on its behalf – Copyright Licensing Agency, ERA licence for television recordings etc. But I’m going to focus on Creative Commons.

A reminder of what a licence is, the copyright owner or his/her/its authorised representative (licensor) grants licensee rights to do certain restricted acts. In return fees are (often) paid. Terms and conditions are imposed – you must follow them, or be in breach of the licence and may be infringing. If you have a paid-for licence than you may be covered by indemnity – so the licensor should deal with any claims for infringing in theory. One of the most important licences is Creative Commons.

Firstly there is a website for Creative Commons: http://creativecommons.org/. If something has a CC licence then you may copy that content at no charge as long as you attribute creator. There may be other limitations which we will come back to. CC licences apply to text, sound effects, music, images, moving images, most any electronic format. To find licences materials there are many sources – Google, Google Images, Mediahub (for HEIs and FEIs only), Flickr, YouTube, much of the content on Google Scholar as well. Many of the Wikimedia (including Wikipedia) materials are on CC licences. In many cases you find these materials through advanced search options. But BEWARE! many people share things under CC that they are not entitled to so you must exercise common sense. So if you find a clip of a recent football match or a BBC programme on YouTube and it says it is CC licenced then it’s pretty unlikely the person who uploaded that has the rights to share that. Be sensible.

There are a number of CC licence types. The base line type is to copy and disseminate the work without changes and as long as you give attribution (CC-BY). So you can use the content but must give the author/licensor credit. You may also find that work has a CC-BY-NC licence – you may only use work for Non-Commercial purposes – there have been court cases here, with glossy magazines using images for instance where the author has had their licence breached and must be paid damages. You may fine that you have a CC-BY-ND licence – this means there may be No Derivatives. Or a CC-BY-SA – this means you must Share-Alike – you must share anything you do with an item under the same licence term.

CC licensed work is very useful – for presentations, for teaching materials, etc. And it’s a great way to share your own work with others.

Now, onto Orphan Works. These are anything that is in copyright but you cannot identify or trace the owner so cannot get permission to copy/permission. This is a growing problem, especially with uploading of content online. A likely solution in the future would be to use licences where funds are put in a pot for rights holders to claim – so you pay a fee and that fee is kept so that if the copyright owner comes forth they can be awarded some money from that pot of money. A big question arises here – in the majority of cases the owner will not come forward in which case the money will build up and how can that be dealt with?

The EU has issues a draft Directive on Orphan Works along these lines but it only covers text and some limited film works. It may not get passed but will certainly take a long time to come into force even if it does. Meanwhile Hargreaves has made some proposals likely to occur earlier and which are a bit more wide ranging. That is the current (vague) legislative position here.

Believe it or not even ancient works (e.g. a cuniform tablet) are still “in copyright” if they have just been found. Again Hargreaves has recommendations there. Obviously from a risk management perspective that would be a low risk issue though.

Hargreaves is a professor at Cardiff University who David Cameron asked to look at copyright law. He has recommended a new exception for orphan works for non-commercial use, with licensing bodies to administer (perhaps Copyright Tribunal). He also suggested the lifetime of copyright for unpublished or anonymous/pseudonymous works to life of author plus 70 years, or 70 years from data of creation. He does recommend requirement for a “diligent search” – before paying a fee to the licensing centre – but it’s not clear what the criteria for such a search would be . And it’s not clear what happens if someone comes forward as an author – they will get fees for prior use but can they block future use for instance?

And there is suggestion of a Possible Extended Collective Licensing schemes – so that colelcting societies c overing a majority of rightsholders in their media can offer licenes for c oprying materials not currently in their repertoise. And this could potentially include orphan works. OR there could be a special Orphan Works Licensing Agency.

Finally the IPO is to develop plans for a “copyright opinions service” in early 2012 for anyone, perhaps specifically/only educational institutions worried that they might be infringing. But this may not happen, the IPO are not keen on it. And there was to be a White Paper with proposed legislation in “Spring 2012″ but it will be much later than that and Orphan Works may or may not be included as the independent photographers groups really don’t like the orphan works part of Hargreaves recommendations.

Q&A

Q1) In terms of vicarious responsibility – surely the employer isn’t responsible for all actions of employees and students and what they do in their personal lives?

A1) It must somehow be related to their employer responsibilities. If a student it’s about using the organisations facilities. So as an employee my personal conduct isn’t in scope. But if I do something at home related to my work role then that would be in scope. And if I do something personal on work computers the organisation can be liable. And with students it’s clearly about facilities. So it must be related to role, or use of facilities supplied by the institution.

Q2) Where do you draw the line between performance or conversation caught on camera – does the law differentiate?

A2) The law doesn’t differentiate exactly. But the law see performance as something that involved pre-planning. So improvised Jazz, some have argued, isn’t pre planned – though I’m not sure I agree. Lectures and concerts are clearly pre planned, schedules etc. There was a case the other day of someone who had created diagrams and graphs and had put them on camera as part of the talk – the question was whether those diagrams etc. enjoyed performers rights. I’m not at all sure. So there is a debate whether football recording infringes performance rights – the moves are not planned! But a conversation… well a pre planned interview would have performers rights but a chance conversation might not qualify.

Q3) Is there a list of organisations that are particularly copyright sensitive and will chase you always?

A3) There are some that usually persue: the film industry, the music industry, some publishers such as John Wiley, Ordnance Survey (happy to grant licenses but don’t do something without those or outside the terms. Some subject areas are dodgy such as business – you have various tests, questionnaires to measure personality or ability to negotiate or stages in marketings etc. and the copyright owners of those are very aggresive. The Honey and Mumford Test is a good example. Sheetmusic is aggresive. Andrew Lloyd Webber is very aggressive. No master list though.

Q4) Do performer and moral rights apply to work undertaken for your employer?

A4) You cannot assign your moral rights but if you create something for your employee duties there simply are no moral rights – so lecture notes here for instance. Performers rights are always retained by the individual not with the institution whether or not that is part of your employee duties. So an employer cannot on insist on recording an employees duties. So a university cannot insist on podcasting your lectures for instance. However even though legally in the right there may be plenty of reasons to approve such recording but these rights always remain your own.

Q5) For repositories can CC licences be accepted or must they always be checked?

A5) I did say you need to be sensible.  But you need to check that third party material is not in that material. And as an author I could have assigned copyright to a publisher… it’s a bit of a risk management approach. I would suggest that you need to get each academic when they submit, or when they first submit to the repository to sign a statement that they have the right to deposit anything going into the repository – a useful prompt for the depositor and this allows the institution to show they have tried to ensure compliance.

Q5) What is your liability for something that you have used that someone else CC licensed but is infringing?

A5) If it’s obviously infringing then you are probably liable. But it’s about how reckless you are. If you think that the CC licence is valid, it’s taken in

Q6) CC-BY-NC – does this mean you can’t sell the work, or that it can’t be used by a commercial organisation. And would a university be intentded a commercial organisation? Would a prospectus to attract students who make money for the university be a commercial use?

A6) It’s about direct or indirect money making usage. So a commercial organisation could use a CC-BY-NA item for non commercial purposes – an internal presentation, an intranet etc. But a prospectus would be a commercial use.

Q7) Non commercial is not the same as non profit…

A7) Certainly. You don’t need to make a profit to be commercial. A charity sharing a booklet that you charge for, even if it’s loss making, would be commercial.

Q8) We publish a photo with a non commercial licence and someone uses it on their blog. Their blog run ads and the blogger claims that it is non commercial as ads cover running costs.

A8) That’s a very grey area indeed. That may be a case to talk to the original copyright owner to ensure there are no objections.

Q9) CC licences for research papers: I read there are formulas for different licensing of materials like GNU, BSD, and CC for artworks. I do not think that these are appropriate for scientific articles – do you agree? What CC licence is appropriate for research papers? What does NC or ND mean in this context?

A9) CC isn’t just for artworks certainly. There are different and more appropriate licenses for software, CC isn’t designed for that. But articles wise I see no reason why a CC-BY-ND-NC licence wouldn’t be appropriate for research articles.

And that’s the last of some really interesting questions. The next webinar is on the latest changes to UK Copyright Law and registration will open up in a few weeks time.

Having hotfooted it over from George Square where I’ve given my Innovative Learning Week session on Social Media – more on that in a future blog post – I’m now at the School of Education for a seminar from Dr Melissa Terras, Reader in Electronic Communication at the UCL Department of Information Studies and Co-director of the UCL Centre for the Digital Humanities. She’ll be talking on “The Virtual Visitor: What Do We Know About Users of Digitised Cultural Heritage?”.

You can find out more about the event on the Digital HSS website: http://www.digital.hss.ed.ac.uk/?page_id=493

As usual this is a liveblog so may have spellings typos etc. Just let me know if you have corrections and comments. 

Jen Ross is introducing Melissa and mentioning her fantastic talk yesterday. And now over to Melissa:

I’m originally from near her, from Kilcaldy, so delighted to be up here. So… I do a lot of analysis but over the last few years we have been getting increasingly requests from cultural heritage organisations around where we are, in Bloomsbury, who want to learn about technology and work with us. So I’ll be talking about how users use the online collection database and a bit on log analysis. So I’ll talk about what we know, what we can’t know and what technologies are available to us at the moment.

So the project I’ll be talking about is the British Museum (BM) Collection Database Online (COLL?). And particularly the research area. That area of the website was launched in 2007, by the end of 2009 there were 2 million objects online, 600+k images. By the end of 2011, 800k images. But the BM wanted to know how they were being used, what impact this was happening.

So we’ve been doing user studies at UCLDH for some time

Log analysis of Internet Resouces in the Arts and Humanities – we got permission from the servers to see how many people were using AHRC resources (not all sites had very many at the time but it was a while ago). We had an idea of if we build it they will come but we have a better idea now, we know that it isn’t that simple

User Centrerd Interactive Search with Digital Libraries – led by my colleague Claire Warwick this looked at the comparison of in person and online library experiences – functionality and information seeking environment features such

Virtual Environments for Research in Archeaology – we took a huge long term dig site used by the University of Reading. We set up wifi and we provided technology to try to speed up note-taking. Huge fun… technology isn’t great in the rain… and struggles in the sunshine!

QRator – this is with KCL and an exhibit of biological specimens. We have iPads around the room and visitors can answer questions there, or on the website, or on Twitter – like “is this an ethical thing to display”. And we can analyse those comments. And the vast majority are intelligent answers – my PhD student Claire Ross is working on that. And she has a NESTA grant to do the same thing will all 5 sites of the Imperial War Museum.

Linksphere (Claire Ross was research assistant here) – the intent here was to build a huge integrated system with the University of Reading. But we did have this highly engaged student who wanted stuff to do. She wanted to do user studies but the original project wasn’t ready for that so she asked someone at the BM to let her see their log data… and she worked on that!

We also have workplacement students and one of them, Vera Motyckova, was engaged on this specific project.

We have various PHd students working with the British Library, the British Museum, the Science Museum, Grant Museum. We are very lucky to work with amazing partners here.

So I was going to talk about how all museums and cultural heritage are putting materials online but we don’t know why people come to these sites, what they search for. So we wanted to try and find out with the BM website.

So, Methods here…

Quantitative – log analysis, link analysis, analytics (eg. Google Analytics), surveys

Qualitative – Open ended survey tasks, interviews, focus groups

Toolkit for the Impact of Digitised Scholarly Resources – fantastic tool outlining these methods.

So Google Analytics or web log analysis tells us where visitors come from, which pages they have visited, how long they stayed, where they came from, search terms captured from the search within the site. Online survey (survey monkey( allows an in-depth suvvey. In-depth interviews – we didn’t have time for one to one interviews but these would have been very valuable.

So some up to date contect. The BM had 10.5 visits/60m pageviews in 2011. 1.2m included a visi to the Research section containing the collection online – that’s about 11% of the visitors. That’s the serious section on research. By comparison 5.8m physical visits to the museum (a rise of 4.9%).

The study I’m talking about was a year and a bit ago. So we looked at stats from 20o9 – 2010 when there were almost 9 millions visits, averaging 6 pages per visitors. 30% of returning visitors from 230 countries. almost 2 million searchs on the site.

The most common search terms are about famous artefacts at the BM. But we are interested in the database and what people are looking and why.

So when you look at log analysis and Google Analytics the problem is it’s a bit dry… So some 21% people that come to the collection do so directly. About 15% come in through other sites – mainly the BM shopping sites. Many visits also came from other sites that indicate good amounts of links in.

So this graph (on screen showing a major jump) shows access of the BM site via mobile. There is an instant boost in mid October. And that was 1 week – the sim card switching on period – after O2 launched the iPhone. It’s that obvious in the stats. But whilst you can see usage you don’t know about intent or usage behaviour.

We put a pop up survey request on the site – it hit 1 in 5 people – and ran from 3rd June 201 to 2 July 2010. We got 2.5K respondants. We were delighted by that. We did 30 main questions – multiple choice, Likert scale and defined tests.

So if we look at the age of respondants – most were 21-30, a good amount between 31 and 50 years old. Not in use withe under 20 youths of course. Some 29% of users were in UK, 91% in England; 6% from Scotland, 3% Wales – non in Nothern Iereland.  And also a large group from the US.

When we asked people how they had come to know about BM COL most said they had heard through a friend or a colleague, many from an academic websie. But relatively few had come in via search enine.

And when we asked users what best describes their reason for COL – 5o% were doing academic research. 12% using it for professional research, only 18% ish for personal interest/fun.  And when we looked at academic role it was clear that PG Researchers were the major group, also professors and other students.

We asked users how they wanted to search. Most wanted free text. They also wanted to search by type of object which is interestin though th emetadata doesn’t support that yet. Some did want the data organised by museum gallery but most were not passionate about replicating the offline experience online.

On the whole people were looking for specific ojects, some on a group of objects. Unsurprising that latest research not as well used – that’s what they were doing.

And next… a lesson in phrasing questions well here.. we asked what type of object poeple were coming to the website to see. Some of the print materials are hard to acces in the museum so of particular interest.

In terms of how often the collection database was used something like 30% was using the COL for the dirst time. Another third occassionally. We really needed to understand that – it’s the response rate rather than who is using the site.

When we asked the users what improvements they would want – most wanted more images, many wanted improved search facilities, and some wanted more collections. Some wanted zoomable and 360 degree images. Great stuff but is it realistic to do on this scale. Notably most users wanted to have COL be easy to find and access and improvements have been made to address that.

Users wanted images in higher res, image ordering, less steps for retrieving images once logged in. Option to return to search results after ordering an item.

Users wanted to see more objects – better information on physical presence/loan included.

And we asked which social media appliations people wanted in COL. 65% said no. Some said Facebook. Some said tagging. This was a big Meh! The users were not that interested, there for serious research.

We asked users if they reuse image based content elsewhere – some said no, some said yes… we didn’t but should have asked for more info here.

We asked people are you on the BM;s website as a result of a visit to the museum – we asked twice and people were clear that visist and website visits were differnt. COL use it for serious research vs. fun of in-person visits.

And finally we had a task at the end of the survey. In computer science you give people a sample task to find out how they would run a search on your website. So we used the example on  Greek Vase. I knew that specific item and couldn’t find it… so “you are searching for a greek case which you know in the BM as you have seen it in a print catalogue. It is an Attic black-figured lekythos from the myth of psychostasia. And it has the catalogue number B 639.”

So, if you look for B 639, or psychostasia, or lekytos you get nothing . The 6 people out of 174 users who found the vase took the space out of “B 639″. The British Museum were surprised at this…

We had a similar task for a painting. And in both cases we found that users try to search in Google type ways – people learn information strategies in these places and we can’t be the same but we have to be aware of that.

One of the interesting analytical things you can do is compare where people say they are with where the logs show them. These cross checkings help you see if you have a representative sample. We didn’t offer the survey in other languages though – perhaps we should have. But little cross correlation we can do between logs and the survey. And in between there is a space where you can’t quite touch about motivation and behaviour – that’s where surveys come in…

So, to wrap up, we showed what the scholarly perceptions of the BMs information environment is. We found that digital resources are used extensively by academics as part of their research process and are considered vital to their research. We found preference for visual material. And a real different between a physical and a virtual visit.

We found that social media was not a priority. But we also foujnd that academics display specific information seeking behaviour and sophisticated search strategies. They come for known objects, with deep knowledge of the materials, it’s a serious and purposeful visit.

We got a better understanding of search patterns and information seeking behaviour of a specific user group. We provided a valuable guide for further development and refinement of the BM coll page – not many but really clear guidance.

And we are going to repeat this work and do this as a longitudinal research. And we are also involved in work with other poeple – National Gallery, BM and National Museum of Wales for a full 2 year longitudinal study of all types of users here. But this work completed has acted as a great pilot – and our masters and PhD studemts are invaluable here. We’ve been looking at the National Gallery and they have 2000 items(?) – far fewer than BM – but all really really famous.

And finally thank yous to Matthew Cock and David Prudames, British Museum; Claire Ross, UCLDH; Vera Motyckova, ex-student at UCLDH (now at BBC). And also to @paleofuture for an amazing 1962 comic predicting that researchers may consult materials at the Library of Congress or British Museum remotely – very nice!

Q&A

Q1) How confident are you that 50% users are researchers – aren’t they more likely to fill in surveys?

A1) You’re right. This comes down to survey methodology and you just have to be honest about that in your write ups. We got a 10% response rate – about right but what about the others? But even seeing that there is real use by researchers is useful – even if only that 10%. When people talk about that stuff we don’t see references to the online version of an item but just the item so you can’t tell from the literature.

Q2) I thought that 35% of users who would be willing to engage with social media isn’t bad.

A2) Yeah but the age is mostly post grads, Facebook and Twitter users etc. So it seems low. And if you are deciding about resources – better valued for digitised resources than for investment in social media. The National Museum of Wales have millions of items and they have users no longer in Wales but are doing family and genealogy research – real balance to strike. But BM work showed as much info as possible is best.

Q4) Did you find out much about unsuccessful visits?

A4) Yes, at the end of the survey there was an “other” box. And they told us about frustrated searches, images they couldn’t find – all very useful. Important I think. Most responses were pretty positive. But on suveys poeple can share more negative comments so great to have so much positiveness

Q5) I’m from RCAHMS and we’ve been working on crowd tagging, could you say something on this…

A5) I did a tiny amount of work on Flickr community tagging work but huge interest in this. I had poeple who run these virtual museums and they millions and millions of hits. Tends to be image based stuff. But libraries and museums tend not to provide this stuff. Enthusiasts do this stuff exhaustively whilst museums don’t. More to be done here. But projects like First World War Poetry DIary did a great community sourced project digitising amateur poeple’s stuff. And the other thing is amateurs do not need the physical items – they collect digital copies of an image, they want an exhaustive collection. Archives and museums would never do that stuff. And we can do more to look at that relationship around who owns what and who gets to engage with it. I’m doing a talk on Jeremy Bentham later today – we have one woman who has done almost half the transcribing! She did it to unwind! Tapping into those key users is really interesting. And Pinterest and Tumblr etc. are picked up fast by these enthusiasts – very responsive to change. But organisations are getting better at that and being more pragmatic about sharing. The BM has a SPARQL endpoint that people can use to do their own interface on the data. That’s the future – making systems robust enough for better access.

Jen: On that note we should let Melissa go on to her next talk.

Q3) I work at National Galleries of Scotland and we struggle to work out how much data we put with the data? Collection/label stuff vs narrative perhaps.

A3) We found people want to know the size, the details. But the story behind the object may not be as important as the basic information. Provenance was important for users. But different questions for art vs. history.

::: Update: Melissa Terras has allowed the organisers of this session to share the audio recording alongside the slides so I have now embedded these here :::



 

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