In 2004, designer and animator Justin Cone created “Building on the Past” as part of our Moving Images Contest and won. Justin originally made the video, which demonstrated Creative Commons’ mission in two minutes, available under CC BY-NC. At the encouragement of Wikieducator’s Wayne Macintosh, Justin decided to re-release “Building on the Past” under the most open CC license, CC Attribution (CC BY) and made a short video explaining why (also under CC BY). Both videos are featured in Creative Commons unplugged, a part of Wikieducator’s Open content licensing 4 educators workshop (a work in progress).
In the video, Justin talks about why CC is so important to him:
“Creative Commons is important to me for two reasons: The first reason is that it just makes life easier. I don’t have to worry about law suits or trying to secure permissions from people who might be impossible to get in touch with. It just makes creation easier and encourages the exchange of ideas; it encourages discussion and education. The second reason is a little more symbolic. By putting the CC license on my work, it basically says I care enough to share. I feel like I’m taking part in a community just by licensing my work with CC.”
He goes on to explain why he changed the license of his film:
“Originally I licensed my “Building on the Past” video with an Attribution-Noncommercial license. And I think the noncommercial part was there because I was just generally suspicious about corporate interest or something. It wasn’t very well thought out, but I think I was worried that somebody would take the video, re-contextualize it in a way that wasn’t appropriate for the video. Since then, I’ve kind of changed the way that I think about things. The video has been showed around the world; it has been translated and subtitled in different languages and it has taken on a life of its own. And I think that it deserves to be a little freer. There’s no reason to keep it from being used by a commercial interest because I think it has some educational value. I think it has a message that can be debated, discussed, disagreed with or agreed with, and by removing the noncommercial part of my license, it’s easier for people to now do all those things.”
At the end, he offers tips for other creators, saying we should ask ourselves two questions: “Is this project bigger than me?” and “When you finish a project, is this really the end of the project, or is this the beginning?” If your answer is affirmative in both cases, Justin notes that CC “makes it so much easier for your project to expand beyond you”:
“I like to think of projects as stories. So if you choose a traditional copyright, then the story of your project has just a limited number of possible endings. And sometimes those endings are fine and they work for the story. But a lot of times it’s more interesting to choose a different path for your story. And if you go with a Creative Commons license you’re basically saying, I don’t want this story to end. I want it to go on and on. I want it to have different endings, different twists and turns rather, and I want other people to tell this story. I think that’s a better story, it’s a more exciting story; it’s epic.”
Wish CC a happy birthday by showing your support today!2 Comments »
The University of Michigan Library now offers content on its website under the Creative Commons Attribution (CC BY) license. This announcement is significant because the Library had been using the more restrictive Creative Commons Attribution-NonCommercial (CC BY-NC) license. By switching to the Attribution license, the Library has granted more permissions to use, share, and repurpose its research and technology guides, video tutorials, toolkits, copyright education materials, bibliographies, and other resources.
From the press release:
“It seemed that for some people the term ‘noncommercial’ implied ‘anti-commerce.’ That wasn’t the message we wanted to send,” says Melissa Levine, MLibrary’s lead copyright officer. “After some careful consideration, and in consultation with all library personnel, we concluded that dropping the commercial restriction would encourage broader use of our educational resources, which was really our intent when we switched to the Creative Commons license in the first place.”
Mike Linksvayer, vice president of Creative Commons, believes MLibrary to be the first major research library to adopt the CC-BY license. “Many other people and projects have dropped the noncommercial condition from their licenses as they‘ve gotten more comfortable with and reaped the benefits of openness, but the U-M Library is the most prominent so far. As other institutions follow, this leadership will be seen as an important marker in the history of increasing access to and collaboration around educational and research materials.”
Congratulations to MLibrary on its announcement to increase openness by using the Attribution license.No Comments »
Sintel poster by Blender Institute / CC BY
Sintel is the Blender Institute’s third “open movie”. Could you describe what “open movie” means to the Blender Institute?
Oh… many things. First, I love to work with artists, which goes much easier than working with developers! And making short animation films with teams is an amazing and very rewarding activity. With this large creative community of Blender artists, the financial model enables it even; not many short film makers have this opportunity.
But the practical incentive to do this is because it’s a great development model for Blender. Putting artists together on a major challenge is the ultimate way to drive software like Blender forward. That way we can also ensure it fits ambitious targets weeding out the ‘would be cool features’ for the ‘must need’ ones. And it’s quite easier to design usability with small diverse teams, than have it done online via feedback mechanisms, which easily becomes confusing with the noise of hundreds of different opinions.
It’s also a fact that the Blender Institute was established for open movie projects, so for me (and the Blender Institute) it means our core business.
Blender Institute projects have a rare but heavily developed intersection between free and open source software (Blender the software and its developer community) and free culture (the films the Blender Institute produces). How related and similar are these worlds?
I don’t consider myself much related to “free culture” really, and certainly not in the political sense. For Blender projects it’s just a natural way to deliver it in open license like with [the licenses provided by] CC. We want our users to learn from them, to dissect our tricks and technology, or use them for other works. And not least: to allow everyone who works on a project to freely take it with them; as a portfolio, or companies who sponsor us who need demos or research material. So in that sense we are free culture!
But each time I meet people who work in this field, it’s mostly theorists, not practicists. so I’m a bit biased [...] people who talk about free culture don’t seem to make it (at least here in the Netherlands, at conferences or meetings). I get regular invitations to talk on this topic. I do it sometimes, but the blah-blah level disturbs me a bit. Free culture is about doing it.
So at the Blender Institute, you have artists working on these works, and you have programmers working on this code. How similar are those worlds?
For Blender, I think we have a great mix, with a lot of cross-overs. Several of our coders started as users, and we involve artists closely in design for tools or features.
This doesn’t always go perfectly, especially when it’s highly technical, like simulation code. But if you visit our IRC channel, or mailing list, or conferences… it’s always a great mix. Maybe this is because 3d art creation is quite technical too? I dunno… not many users will understand how to construct bsp trees, yet they use it all the time.
In general compared to other open source projects, I think we’re quite un-technical and accessible. A big reason for that is because I’m not even a trained programmer. I did art and industrial design. When coders go too deep in abstract constructions I can’t follow it either and can simply counter it with an “Okay, but what’s the benefit for using this?” And when the answer is “It makes coders’ lives easier” I usually ignore it. In my simple world, coders suffer and artists benefit! But one coder can also do some stuff — taking a few hours — that saves hundreds of thousands of people a few seconds in a day. And that’s always good.
What’s the development of a film like Sintel like as in terms of internal development vs community involvement in production? Has that dynamic changed at all from work to work? I partly ask this because some people think “Oh, open movie, they must have their SVN repository open the whole time and just get random contributions from everywhere,” but Blender Institute films don’t tend to work that way.
Right, we keep most of our content closed until release. I’m a firm believer in establishing protective creative processes. In contrast to developers — who can function well individually online — an artist really needs daily and in-person feedback and stimulation.
We’ve done this now four times (three films and one game) and it’s amazing how teams grow in due time. But during this process they’re very vulnerable too. If you followed the blog you may have seen that we had quite harsh criticism on posting our progress work. If you’re in the middle of a process, you see the improvements. Online you only see the failures.
The cool thing is that a lot of tests and progress can be followed now perfectly and it suddenly makes more sense I think. Another complex factor for opening up a creative process is that people are also quite inexperienced when they join a project. You want to give them a learning curve and not hear all the time from our audience that it sucks. Not that it was that bad! But one bad criticism can ruin a day.
One last thing on the “open svn” point: in theory it could work, if we would open up everything 100% from scratch. That then will give an audience a better picture of progress and growth. We did that for our game project and it was suited quite well for it. For film… most of our audience wants to get surprised more, not know the script, the dialogs, the twists. Film is more ‘art’ than games, in that respect.
You also did the sprints this time, which pulled in some more community involvement than in previous projects. Do you think that model went well? Would you do it again?
The modeling sprint was great! We needed a lot of props, and for that an online project works perfectly. The animation sprint (for animated characters) was less of a success. Character animation doesn’t lend itself well for it, I think. There’s no history for it… ehh. Like, for design and modeling, we have a vocabulary. Most people understand when you explain visual design, style, proportions. But for animation… only a few (trained) animators know how to discuss this. It’s more specialist too.
How has the choice of the Creative Commons Attribution license affected your works?
How would it affect our works? Do you mean, why not choose ND (no-derivatives) or NC (noncommercial)? Both restrictions won’t suit well for our work. And without attribution it’s not a CC license.
I did get some complaints why not choose a FSF compatible license, but the Free Software Foundation has no license for content like ours either.
What kinds of things have you seen / do you expect to see post-release of a project such as Sintel?
A lot of things happened with previous films, Elephants Dream and Big Buck Bunny, ranging from codec research in companies, showcases on tradeshows, to student composers using it to graduate. Even wallpaper!
We are working now on a 4k resolution of the film (4096 x 2160). The 4k market is small, but very active and visible in many places. They’re dying for good content. I’m also very interested in doing a stereoscopic ’3d’ version. As for people making alternative endings or shots; that hasn’t happened a lot, to my knowledge. Our quality standard is too high as well, so it’s not a simple job.
But further, the very cool thing of open content is that you’re done when you’re done! A commercial product’s work stress only starts when the product is done. That’s what I learned with our first film. Just let it go, and move on to next.
And at least one “free culture” aspect then: it’s quite amazing how our films have become some kind of cultural heritage already. People have grown fond of them, or at least to the memory of them. It’s part of our culture in a way, and without a free license that would have been a really tough job.
Might there be a Sintel game (Project Jackfruit?) using the Blender Game Engine like there was a game following Big Buck Bunny (Yo Frankie)?
Not here in the Blender Institute. But there’s already a quite promising online project for it.
You can watch Sintel online and support the project (and get all the data files used to produce the film, tutorials, and many other goodies) by purchasing a DVD set. You may also wish to consider supporting Creative Commons in our current superhero campaign.2 Comments »
Gates Foundation announces $20M for Next Generation Learning Challenges; CC BY required for grant materials
The Bill & Melinda Gates Foundation has announced a $20M investment in the Next Generation Learning Challenges, an initiative to improve college readiness and completion through technology. The first request for proposals (RFP) was released today (PDF). The RFP specifically solicits proposals that address the following challenges:
- Increasing the use of blended learning models, which combine face-to-face instruction with online learning activities.
- Deepening students’ learning and engagement through use of interactive applications, such as digital games, interactive video, immersive simulations, and social media.
- Supporting the availability of high-quality open courseware, particularly for high-enrollment introductory classes like math, science, and English, which often have low rates of student success.
- Helping institutions, instructors, and students benefit from learning analytics which can monitor student progress in real-time and customize proven supports and interventions.
The RFP lays out the grant guidelines with regard to open licensing, and requires the use of CC BY:
So that the knowledge gained during NGLC-funded projects is promptly and broadly disseminated, all documents, written materials, and other content submitted to EDUCAUSE during the period of Grantee’s NGLC grant application and grant (e.g., website postings, pre-proposals, proposals, findings, and information generated by Grantee) will be made available to the community under a Creative Commons Attribution license. In addition, all open educational resources and related work product (manuals, integration formats, hosting environments, faculty development guides, or curricula, etc.) created in connection with the Open Interactive Core Courseware challenge must be made available under this license.
Adopting CC BY is precisely aligned with the overarching goals of foundation funding and initiatives such as the Next Generation Learning Challenges. Last year, the Berkman Center’s study on foundation copyright licensing policies said that open licensing “ensures[s] the broadest and fastest dissemination of the valuable ideas, practices, works, software code and other materials the foundation’s funding helps to create.” That report went on to suggest that the impact of funding is even greater when permissive licenses (such as CC BY) are applied, allowing the resources “to be freely tested, translated, combined, remixed, repurposed or otherwise built upon, potentially by many subsequent researchers, authors, artists or other creators anywhere in the world, as the basis for new innovation, discovery or creation.”
Proposals for the first RFP are due November 17, 2010. The Next Generation Learning Challenges are a collaboration between several organizations, including the Gates Foundation, EDUCAUSE, iNACOL, CCSSO, The Hewlett Foundation, and The League for Innovation in the Community College. Congratulations to the Gates Foundation and partnering organizations on this fantastic effort.2 Comments »
At the beginning of this year we announced a revised approach to our education plans, focusing our activities to support of the Open Educational Resources (OER) movement. In order to do so we have worked hard to increase the amount of information available on our own site – in addition to a new Education landing page and our OER portal explaining Creative Commons’ role as legal and technical infrastructure supporting OER, we have been conducting a series of interviews to help clarify some of the challenges and opportunities of OER in today’s education landscape.
One major venue for the advancement of OER is through policy change at the local, state, federal, and international levels. We recently had the chance to talk to Christine Mytko, who is advancing OER at the local levels through her work as a K-12 educator and the lead science reviewer at Curriki. As a teacher, Christine brings a unique perspective to the conversation around open education and policy, and gives us important insight into how teachers on the ground are thinking about copyright and using Creative Commons and OER.
You are a teacher and the lead science reviewer at Curriki, which is known as the “next generation wiki” for K-12 education. Can you briefly describe who you are, your current roles, and what led to them? What would you say is Curriki’s mission, and how is it helping teachers like yourself?
For most of my teaching career, I have been a middle school science teacher in public schools. When I moved to the Bay Area three years ago, I was fortunate to find a job that combines both of my passions – science and technology. I currently serve as the K – 5 science specialist and middle school technology teacher at a small independent school in Berkeley, CA.
In 2007, I interviewed for part-time work at Curriki. Like many teachers, I was looking to supplement my income. What I found was a community of educators committed to creating, collaborating on, and sharing open-source materials. As part of the Curriki Review Team, I am responsible for reviewing submitted science materials and providing a public score and feedback for the contributor. I also help out with other projects as needed. Currently, I am working with another Bay Area Chemistry teacher to revise and submit an open source Chemistry digital textbook as part of the California Learning Resource Network’s Free Digital Textbook Initiative.
As stated on its main page, Curriki’s mission is to “provide free, high-quality curricula and education resources to teachers, students and parents around the world.” Its name, somewhat recognizably, is a play on the words “curriculum” and “wiki.” The Curriki repository does have many curriculum options, from lesson plans to full courses, available in various subject areas, educational levels, and languages. Curriki offers other resources, too, including textbooks, multimedia, and opportunities for community and collaborative groups.
All Curriki content is shared under the Creative Commons Attribution license (CC BY), planting it firmly in the OER space. Do you know why Curriki chose CC BY for all of its materials? If not, what do you see CC BY enabling that other licenses or “all-rights-reserved” content might not?
Contributors of Curriki content do have the option to select either public domain or a variety of CC licensing, but the default License Deed is CC-BY. I honestly don’t know specifically why Curriki chose this, but I must say it as an excellent decision. CC-BY gives educators the power to remix, share and distribute materials as needed to be timely and maximally relevant to their own curriculum.
The flexibility afforded by a CC-BY license allows for materials to be adapted quickly. I hear that a typical textbook revision works on a 7-year cycle. Curriki materials can be updated and “published” in a matter of seconds and the community can correct any content errors just as quickly. Many topics, especially in science and technology, are changing so quickly that education can no longer afford to wait for proprietary materials to go through their lengthy cycles of publication.
Currently, California and Texas are the biggest purchasers of traditional “all-rights reserved” textbooks, and publishers strive to meet these states’ requirements. Educators in other states (and countries) are forced to work within these proprietary constraints. However, OER [initiatives] such as Curriki allow teachers to freely adapt materials to best fit their pedagogical and cultural needs. Furthermore, by creating or uploading such materials onto a public repository, teachers will no longer need to work in isolation, continuously “re-inventing the wheel.” As relevant materials are freely shared among communities of educators, individual time spent on adapting proprietary materials will decrease, allowing educators to spend more of their precious time on other important areas of teaching.
Describe a class- or school-wide project where you have integrated CC licensing and/or OER. What challenges have you or your students come across while searching for or using resources on the web? How would you translate this experience for teachers looking to mark up their own resources correctly for OER search and discovery? What do teachers need to know?
In my technology classes, I now require all incorporated media to be Creative Commons, Public Domain or No Copyright. At first, after having free rein in Google Images for years, my students felt very limited in their choices. But after discussing the reasons behind copyright and copyright alternatives, many students understood the importance of respecting rights reserved.
There are so many excellent resources to help teachers and students use Creative Commons in their classrooms. The Creative Commons search page, Wikimedia Commons, Flickr CC group, and Google Advanced Search all are wonderful tools for finding alternatively copyrighted images. Websites such as Jamendo are great for finding CC music.
The language was a challenge at first for my middle school students. Although there are only six main CC licenses, my students got bogged down with terms such as “Attribution” and “No Derivatives.” It didn’t help that Google uses slightly different terminology (“reuse” and “reuse with modification”) in their license search filter. But the kids quickly became comfortable with the terms and procedures and, within a few class periods, they easily accessed and properly used “some rights reserved” media. Of course, I have the kids assign rights to their own work, which reinforces the licenses, and gives students the opportunity to think carefully about which rights are important to them.
As far as marking up my own resources for OER search and discovery, I am still learning about the process myself. In fact, prior to my work with Curriki, I was hesitant to “release” my work as open source. I had put so much time and effort into certain materials, I didn’t see the point of just giving them away on the Internet. However, the last few years, I have come to recognize the benefits of open source materials and have begun to post some of my formally guarded resources on Curriki as CC-BY; and I now freely share my new material. Now that I am more comfortable using and creating open source materials on my own and with my students, I hope to move on to work with other teachers.
What are the most common confusions or concerns of teachers when it comes to sharing their teaching materials? Do you think the average K-12 teacher is aware of open licensing alternatives, like Creative Commons? What are the various school or institutional policies for teachers sharing their materials?
I am certain that the average teacher is NOT aware of open licensing alternatives. In fact, many teachers I know still operate on the guiding principle of CASE – Copy And Steal Everything. I don’t believe teachers are lazy or purposely deceitful for using materials in this way; anyone who has taught in a classroom knows how much there is to do in an incredibly short amount of time. Sometimes, copying an (often copyrighted) activity and tossing it in your colleague’s box is merely survival. Even those teachers who are aware of copyright will often claim “fair use.” The problem is that teachers often overestimate their protections and privileges under fair use. And there is little training in copyright and fair use, let alone Creative Commons and OER. Not only is an average K – 12 teacher unaware of his or her responsibilities, he or she often does not know the rights and options available to him or her in sharing his or her own work.
There are a variety of roadblocks preventing teachers from sharing their own work. First of all, since creating curriculum takes so much time, many teachers are unwilling to share lessons because they feel the product belongs to them. Other teachers may feel that their work isn’t good enough to share. And even if teachers overcome these psychological blocks, there are still the technical issues revolving around how will they share their work as open source. None of the schools I have worked with had any sort of policies on, or time set aside for, sharing materials. In talking with my colleagues, they found a similar lack of school policy. Even in the rare case in which there was some sort of policy, teachers often selectively ignored it. Currently, most teachers do not have the access, training, and support necessary to confidently participate in the OER movement.
Curriki has been doing some work to tie their resources to state education standards (http://www.curriki.org/xwiki/bin/view/Main/BrowseStandards). Can you describe a little of that process to us? What are some of the benefits and challenges to including this information? How useful is it?
This work is not part of my professional duties at Curriki, however, I can speak to the process on a personal note as a teacher and Curriki member. Right now, when you visit a resource, you will see four tabs – Content, Information, Standards, and Comments. Choosing the Standards tab allows a user to view currently aligned standards, as well as gives the option to “Align to [additional] Standards.” The process itself is very intuitive; the user clicks through a series of menus and applies standards as he or she deems appropriate.
The biggest benefit will certainly be the convenience of browsing for resources by standard through the aforementioned jump page. The biggest challenge is to align all of the existing and future resources in the repository. Curriki is depending largely on the community to gather momentum for this process. Right now, in its infancy, only about half of the states have standards-aligned resources to browse, and even those collections are far from complete across subject areas and educational levels. Of course, members of Curriki are always welcome to browse unaligned resources by subject, educational level, or other criteria by using Curriki’s Advanced Search.
There has been a lot of OER talk at the state and federal policy levels, especially surrounding open textbooks. What do you think is the future of the textbook for the K-12 classroom? How would you like to see this reflected in policy?
I, like many educators, feel that the reign of the textbook is coming to an end. As a science teacher, I have rarely depended on a textbook for curriculum, and rely more heavily on both online materials and self-created materials. OER allow me to take better advantage of creating and sharing work within a collaborative community. While science and technology lend themselves to early adoption of the open source philosophy, I believe other subjects will soon follow.
Textbooks will not be able to maintain their current stronghold in K–12 schools. A recent New York Times article points out that “[e]ven the traditional textbook publishers agree that the days of tweaking a few pages in a book just to sell a new edition are coming to an end.” Textbooks are expensive and quickly become outdated. Printed errors are not correctable until the next edition comes out. In contrast, OER are inexpensive or free, constantly updated, and easily correctable. I would love to see the money saved by choosing inexpensive OER over pricey textbooks used for supplementary materials and teacher training. Or even better, districts can use that money to set aside release time and pay teachers to meet, collaborate and create OER content.
Lastly, what does a successful teaching and learning environment implementing the power of OER “look like”? Do you have any lingering thoughts—worries, hopes, predictions?
A successful learning environment is relevant, engaging, challenging, and flexible. OER material is current, as well as easily, and legally, adaptable to meet the needs of various learners. An OER community can provide a teacher with materials and support in meeting the needs of his or her particular student population. Resources that are freely shared end up saving others countless hours of redundant individual work and frees teachers from stagnating in a proprietary curriculum.
Schools are beginning to recognize the cost savings of abandoning the current textbook model, and I predict that publishers will adapt as the market demands of them. I hope that schools begin to recognize that teachers are a valuable resource and skilled professionals, and deserve to be compensated for their time spent developing curriculum. I hope districts begin to create policies and provide support to encourage teachers to share the materials they create.
Ideally, the classroom should be a place where students are not merely passive consumers of resources and media, but rather active collaborators, synthesizers and publishers of their own work. I hope that, from a young age, students will be held accountable for using others’ work in an appropriate way, and encouraged to share their own work as open source with some rights reserved, rather than falling back on the default of full copyright, or worse, not sharing at all. I want my students and colleagues to understand that, by sharing materials, they are contributing to a collection of materials that will benefit learners far beyond the walls of their own classroom. This is a significant shift in current educational philosophy, but sites like Curriki are a great step in facilitating a move in the right direction.3 Comments »
The Washington State Board for Community & Technical Colleges (SBCTC) recently adopted an open licensing policy for the competitive grants they administer:
All digital software, educational resources and knowledge produced through competitive grants, offered through and/or managed by the SBCTC, will carry a Creative Commons Attribution License … [and] applies to all funding sources (state, federal, foundation and/or other fund sources) …
The brief (PDF), prepared by Cable Green (who we interviewed in March about the Open Course Library Project), explains how the policy is aligned with SBCTC’s strategic technology plan. The policy draws inspiration from related initiatives working to support the sharing of research and OER, such as the Federal Research Public Access Act (FRPAA), the Southern Regional Education Board’s openness recommendations via “An Expectation of Sharing: Guidelines for Effective Policies to Respect, Protect and Increase the Use of Digital Educational Resources”, and the open licensing requirements for foundation grantees explored in the Berkman Center’s “An Evaluation of Private Foundation Copyright Licensing Policies, Practices and Opportunities.”
Congratulations to SBCTC for this great step forward!No Comments »
Earlier this month, the Australian federal government issued an official response to the Government 2.0 Taskforce report which recommended, among other things, that Australian Public Sector Information (PSI) should be released under CC BY as default. The response (licensed CC BY) included a commitment to the development of a comprehensive set of IP guidelines which would, in principle, follow the Gov 2.0 Taskforce recommendations. Via CC Australia:
Regarding the Gov 2.0 Recommendations 6.3-6.6, which state that Creative Commons Attribution (CC BY) should be the default licence for PSI, the report provides “agreement in principle,” undertaking that the IP Guidelines will not “impede the default open licensing position proposed in recommendation 6.3.”
In fact, the last week has seen the release of three major Federal Government reports – the Budget, the Gov 2.0 response and the NBN Implementation Study – all under CC licences. This seems to be a great indicator that the government really means what it says – open access is going to be the default position for the Australian Federal Government from now on.
This marks an exciting time for the Australian government, as they move towards fulfilling their commitment to openness. For more information, see CC Australia’s post on the matter.No Comments »
For those of you who missed CC Salon NYC: Opening Education, we uploaded live recordings of the event to the CC blip.tv channel a while back. The video recording is split up into three parts in-line with the three sessions to make it easier for you to pick and choose what to watch:
- Flat World Knowledge (as mentioned earlier today),
- Peer 2 Peer University (P2PU),
- and a dynamic panel of K-12 technologists and educators (my personal favorite from the event).
If you’re like me, then you don’t know much about software; if you’re not like me, then you know about software but not much about open source software (OSS). Regardless of which camp you fall into, there’s good news—you can learn about open source software (and help others learn about it) through open educational resources on OSS online. Practical Open Source Software Exploration: How to be Productively Lost, the Open Source Way is teachingopensource.org‘s new textbook to help professors, or anyone for that matter, teach or learn about open source software. “It’s a book that works like an open source software project. In other words: patches welcome.”
For those needing something quick and simple to hand out to their classes, educators can contribute to or adapt this textbook (it’s licensed under CC BY-SA so you can share, translate, remix as long as you share alike) or search for other OER online. One K-12 educator developed this resource under CC BY, A K-12 Educator’s Guide to Open Source Software.
Via CC licenses, both resources enable a community of educators and learners to contribute to, edit, and improve them, especially Practical Open Source Software Exploration which invites people to edit the wiki directly. But fostering a community around open resources to keep them up-to-date and relevant isn’t something that just magically happens, which is why Red Hat, a successful business built around OSS, developed this meta-resource: The Open Source Way: Creating and nurturing communities of contributors. The book is available in wiki-form also under CC BY-SA, and “it contains knowledge distilled from years of Red Hat experience, which itself comes from the many years of experience of individual upstream contributors who have worked for Red Hat.” Basically, it’s a guide “for helping people to understand how to and how not to engage with community over projects such as software, content, marketing, art, infrastructure, standards, and so forth.” Of course none of this is set in stone (literally), since what works for some might not for others, but it’s worth taking a look and adapting to your own needs.No Comments »
Nearly two years ago, I blogged about Pratham Books, a nonprofit children’s book publisher in India. “It was set up to fill a gap in the market for good quality, reasonably priced children’s books in a variety of Indian languages. [Its] mission is to make books affordable for every child in India.” At the time, Pratham Books had released six children’s books under a CC BY-NC-SA license, available on their Scribd page. Since then, they have changed the licenses on those books to Attribution Only (CC BY) and have expanded their offerings to books in the public domain. They have also been blogging extensively and encouraging remix of their CC licensed illustrations on Flickr.
Last month, the CC licenses enabled audio versions of Pratham children’s books for India’s National Association of the Blind. Three audio versions were recorded by Radio Mirchi, two in English and one in Urdu, with more in the works.
I asked Guatam John of Pratham Books why they moved towards more open licensing (from the books’ original CC BY-NC-SA license), and what else he saw for the future of Pratham’s CC licensed books.
“Pratham Books has taken the position that all our content will either be under a CC-BY or CC-BY-SA license because, to us, these are the only two truly open licenses that fit our needs. Radio Mirchi gave us the content with no terms attached but since it was done pro bono, we felt that putting it out under the CC-BY-SA license was the best available choice for both the community, Radio Mirchi and us. Also, the SA component serves to limit commercial use unless it is re-shared, as the license, and our philosophy, mandates.
We continue to release content under open licenses, for example: http://blog.prathambooks.org/2010/03/retell-remix-rejoice-with-chuskit-world.html. And we will continue to do so over time. We have been working with the Connexions project to build a platform for the re-use, remix and distribution of our content too. Our basic goal is a net increase in the available content for children to read from and we think we can catalyse this two ways: Seeding the domain with our content and building a platform to make it easy to re-use and re-purpose content.”
For more on CC licensed OER being adapted to accessible versions, see “U.S. Dept of Ed funds Bookshare to make open textbooks accessible.”1 Comment »