Lulu, the fantastic open publishing platform, is one such organization. Beyond offering creators of all types the means to publish their own work, Lulu offers a CC-licensing option for authors when they are creating their books. Over a million creators have used the service to date with approximately 20,000 titles to Lulu’s catalog each month.
We caught up with founder and CEO Bob Young to talk about Lulu generally, why they’ve chosen to support CC, and how our licenses have helped Lulu grow in the past decade.
Can you give our readers some background on Lulu? What is your role there?
Lulu’s mission is nothing less than to accelerate the transfer of knowledge from one generation of humans to the next. We are doing this by empowering authors of all stripes to bring their knowledge and expertise to their markets without having to ask permission of anyone.
Harnessing the power of the Internet and the free market, our goal is to ensure authors and other creators, as well as the publishers who serve them, are rewarded for creating and documenting the knowledge and expertise that they have accumulated from their research, experience and expertise.
We enable authors to publish their books for free, to create books as printed paper books and as ebooks in all formats and for all devices, and sell those books across the globe.
As Founder and CEO I get much more credit for the success of Lulu to date than I deserve. I prefer my Lulu title of Coffee Mug Washer. At least when I wash dishes in our break room I know I’m creating value.
What is the link between Lulu and CC? Do you all use our tools in your various projects
As Sir Isaac Newton pointed out, all knowledge is the result of “standing on the shoulders of giants”. Creative Commons is doing critically important work helping our society understand that without an active public domain of knowledge and content future generations will not be able to stand on the shoulders. Even more importantly CC is building the tools that enable the protection and expansion of that public domain of knowledge and content.
Lulu is all about giving our authors control over their content. We offer both standard copyright licenses as well as CC licenses and other options in the “select your license” step of the publishing process on Lulu.com. This allows Lulu authors to contribute back to the same public domain of knowledge they benefited from when they learned the knowledge that allowed them to write their book.
Lulu is a corporate sponsor of Creative Commons – what was the motivation behind this generous giving? What is it about CC that you find important?
It was mostly a selfish instinct to protect my own ability to succeed. I doubt I’ve ever had an original thought. All of my success has come from borrowing ideas from people smarter and more knowledgeable than me. But if every idea or thought is someday going to be subject to a copyright or patent owned by some individual or some corporation then where am I going to get my next good idea?
I use the term “borrowing ideas” in the sense Thomas Jefferson meant when he said passing along knowledge was like letting someone light their candle from his. The person who now had the light from the newly lit candle benefited, while Jefferson still had all the light from his own lit candle.
Besides the specific licenses and tools it offers, CC has built a powerful brand that communicates everything Lulu wants to say about how authors should be in control of the content they create, and about how a robust public domain of knowledge contributes directly to improving our lives, liberty, and our pursuit of happiness.
Join Bob Young and Lulu in supporting the future of good ideas by donating to CC today!1 Comment »
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 an Education landing page and the 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. Nicole Allen is the Student Public Interest Research Groups (PIRGs) Campaign Director for Make Textbooks Affordable. In our interview, Nicole discussed the Student PIRGs approach to advocacy and education with regard to open textbooks, their latest report on college textbook affordability, and the necessary role of CC and related groups to raise awareness about open licensing in the academic community.
Can you briefly describe the history of your involvement in Student PIRGs and the Make Textbooks Affordable campaign?
Nicole Allen / CC BY
As a lifelong environmental activist, I originally got involved with the PIRGs in college on a campaign to stop water pollution. But I was compelled to make higher education advocacy my career after Congress cut $12 billion federal student aid to pay for tax cuts for the wealthy during my senior year. I first worked as an organizer with WashPIRG (the “PIRG” in Washington state), and after passing a state law mandating textbook price disclosure, I took over as head of the Student PIRGs’ Make Textbooks Affordable campaign in 2007. Since then, I have worked with students across the country to run the campaign and conducted research and advocacy at the federal level (including work on legislation that reversed the cuts to student aid!).
The Higher Education Opportunity Act (HEOA) passed in 2008, and a provision relating to textbook affordability and access to pricing information recently went into effect. Furthermore, bills supporting the development of open textbooks have been introduced in both the House and Senate. What would you say are the primary characteristics of an open textbook? How does the Make Textbooks Affordable campaign relate to open education?
We’re excited how rapidly open textbooks are gaining momentum, and the HEOA price disclosure law will help accelerate the pace. When we talk about open textbooks, we mean college texts that have been published online under an open license that allows free digital access, low-cost printing and customization by instructors. In most ways, open textbooks are quite similar to the texts seen on bookshelves today – they have a table of contents, exercises, and they’re written by expert authors. In most cases, they even can be printed to look exactly like any other textbook. The big difference is the open license, which enables a wide variety of affordable textbook formats, including free web-based versions, printable PDFs, and printed and bound hard copies for $20-40 (traditional textbooks usually cost $100-200!). Increasingly, more innovative formats such as audio and e-reader versions are becoming available. Another notable difference is that open textbooks can be customized. Instructors can remove the chapters they don’t plan to cover, or they can add in other materials, homework questions or annotations.
Our goal is to get more open textbooks adopted in place of expensive traditional textbooks, so we think of ourselves as part of the “transition team” for open education. We’re getting more professors to use OER as textbooks, the format they feel most comfortable with, which will pave the way for future exploration of more innovative forms of open course materials. So far, it’s been going well. Since 2008, we’ve generated more than 2,500 signatures on a faculty Statement of Intent to consider using open textbooks and more than 500 news stories citing open textbooks as a potential solution. Early this year, we launched a student marketing force consisting of hundreds of grassroots activists on a mission to promote the top open textbooks directly to professors. Already, at least 50 professors we’ve contacted have switched to open textbooks, and we hope to continue this trend throughout the rest of the school year.
The textbook publisher Flat World Knowledge offers free online access to textbooks under a Creative Commons license, and charges a modest amount for printed copies and supplemental materials. What are some things to consider to ensure the sustainability of such new publishing models? What are some of the primary benefits for professors and students in using open textbooks?
Our experience in the field has been that many professors are concerned that students fall behind on reading and homework because they haven’t purchased the text (it’s true – our recent study found that about 10% of any given class hasn’t bought the book). Furthermore, professors are frustrated that publishers unnecessarily revise textbooks to undermine used book sales, creating extra work to keep syllabi and homework questions up to date. Open textbooks offer relief from both of these problems, because the text is accessible free online or at a low-cost in print, and it always remains open even if a new edition comes out. Open textbooks also offer the increasingly attractive benefit of customization, so that instructors can tailor the text to their class.
The benefits for students are obvious. Our latest report, A Cover to Cover Solution: How Open Textbooks Are The Path To Textbook Affordability, found that using open textbooks could reduce costs 80% – that’s $184 per year, compared to the current average of $900! But cost isn’t the only advantage. In our survey, student preferences were split 75% for print and 25% for digital, and two out of five said they’d be comfortable using both. Students listed readability, convenience and cost as their top factors in choosing a format, although there was no consensus on which format represented these qualities best. Given such variance in student preferences, open textbooks are a far more effective solution than conventional options like rentals and e-books, since students can choose from a wide variety of affordable options.
This raises an important question: if open textbooks are free online, why would students buy anything at all? Actually, our research shows that students are willing to purchase formats they value even in the presence of a free alternative: more than half of the students we surveyed said they would rather buy a reasonably priced print copy than use the book free online. Student spending on optional products could be the foundation of sustainable models, such as the model used by Flat World Knowledge.
College professors want to use the best textbook available, regardless of price. The Making Textbooks Affordable campaign supports the adoption and use of open textbooks, and encourages faculty to sign a statement indicating their intent “to include open textbooks in their search for the most appropriate course materials, and declare declare their preference to adopt an open textbook in place of an expensive, commercial textbook, if the open textbook is the best option.” What can the OER community do to make it easier for faculty to discover and adopt open textbooks? How do we continue to address the issue of quality?
Open textbooks are available for dozens of common college subjects, but the challenge is making professors aware of them. Despite nearly universal willingness to consider more affordable options, we’ve found that instructors typically hear about textbooks through publisher marketing efforts, not by seeking books out themselves. Therefore, simply posting open textbooks online is not enough; they need active promotion. We encourage the rest of the open education community to join our efforts to get the word out to professors.
As for quality, I think the issue is different for open textbooks than other OER. Quality is inherently subjective, so it is challenging to establish on a large scale. However, there is already a notion of what is “high quality” for traditional texts, so it’s less abstract for open textbooks. Since most of today’s professors will use traditional standards, creating high quality textbooks is a matter of developing models that can emulate (and hopefully improve upon) the outcomes of traditional peer review and classroom testing. Great examples are Flat World Knowledge, which follows the standard publishing process to the letter, and Writing Spaces, which uses a peer review system similar to scholarly journals. Likewise, demonstrating quality is a matter of vetting books with respect to traditional textbooks through institutions, organizations and adopters. For example, both College Open Textbooks and our own Open Textbook Catalog offer editorial reviews of open textbooks. Traditional concepts like publisher branding and author reputation are important too.
How do you see the role of Creative Commons within the open textbook and open education? How can CC help?
Open licensing is the essence OER. It gives authors the confidence to grant worldwide access to their works while still reserving some of their rights. It enables instructors to customize and expand OER to better meet student needs. And it allows students to choose from a wide range of affordable textbook formats. We are grateful to Creative Commons for everything it has done already to create, promote and defend open licenses.
Sharing and customizing course materials (legally) is a foreign concept in academe. We can gloss over the details in the short term by emphasizing affordability, but a deeper understanding of open licensing will be necessary to broaden the use of OER beyond open textbooks. Therefore, we encourage CC to expand its educational and awareness efforts in the academic community, particularly among faculty.
Wrapping up, what does a successful teaching and learning environment implementing the power of OER “look like”? Do you have any lingering thoughts — worries, hopes, predictions?
I think we’ve only begun to scratch the surface of OER’s potential to transform teaching and learning. Although the pedagogical benefits are virtually limitless, we come from the consumer perspective. To us, OER means choice, and the ideal learning environment is one where students can take part in shaping their own experience as the “consumers” of higher education.
As for the future, I think the next few years are going to be a turning point. On one hand, we have the growing momentum of open textbooks and other OER. On the other, we have the traditional publishing industry, which has begun to diversify its offerings to include e-books, e-readers and even programs that imitate OER in a non-open environment like DynamicBooks and Create. It is imperative that the open education community help open textbooks gain a foothold before the market settles for less effective solutions. To do that, we need to call on government, foundations and institutions to fund the supply-side, and we need to fuel demand by actively promoting open textbook adoption.3 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 »
Today, Creative Commons announces the release of its Public Domain Mark, a tool that enables works free of known copyright restrictions to be labeled in a way that allows them to be easily discovered over the Internet. The Public Domain Mark, to be used for marking works already free of copyright, complements Creative Commons’ CC0 public domain dedication, which enables authors to relinquish their rights prior to the expiration of copyright.
“The Public Domain Mark is a further step on the path towards making the promise of a digital public domain a reality,” said Michael Carroll, a founding board member of Creative Commons and a law professor at American University.
Europeana—Europe’s digital library, museum and archive—is the first major adopter of the Public Domain Mark. Europeana estimates that by mid-2011, the Public Domain Mark will be used in connection with millions of out-of-copyright works made available through its portal.
“An important part of our mandate is to ensure that digitized works made available through Europeana are properly labeled with rights information, including when a work is free of known copyright restrictions so that teachers, students and others can freely use it in their work, changing it and remixing it as they wish,” noted Jill Cousins, Executive Director of Europeana.
The Public Domain Mark in its current form is intended for use with works that are free of known copyright around the world, primarily old works that are beyond the reach of copyright in all jurisdictions. We have already started mapping the next phases of our public domain work, which will look at ways to identify and mark works that are in the public domain in a limited number of countries.
A final note about design. We took this opportunity to revise the CC0 deed, to align it more closely with the Public Domain Mark deed. We think the design changes will help everyone recognize the difference between our licenses, which apply to works restricted by copyright, and our public domain tools.
For more information, read the full press release.14 Comments »
On Friday, Michael Geist broke the story that the Canadian Broadcasting Corporation had apparently banned use of CC-licensed music in its podcasts. This seemed odd, given that the CBC’s Spark podcast has long used, promoted, and done interesting projects with CC-licensed music.
CBC Radio’s program director responded with a comment on several of those stories, excerpted here:
The issue with our use of Creative Commons music is that a lot of our content is readily available on a multitude of platforms, some of which are deemed to be “commercial” in nature (e.g. streaming with pre-roll ads, or pay for download on iTunes) and currently the vast majority of the music available under a Creative Commons license prohibits commercial use.
In order to ensure that we continue to be in line with current Canadian copyright laws, and given the lack of a wide range of music that has a Creative Commons license allowing for commercial use, we made a decision to use music from our production library in our podcasts as this music has the proper usage rights attached.
Everyone can rest easy– there are no “groups” setting out to stop the use of Creative Commons music at the CBC, and we will continue to use Creative Commons licensed music, pictures etc. across a number of our non-commercial platforms.
It is good to know that the CBC will continue to use CC-licensed works in some cases, and their explanation of why not in others. And it is true that only a minority of CC-licensed music is released under a license that permits commercial use — for example, about 26% of the nearly 40,000 CC-licensed albums on Jamendo.
A better approach – one that respects the choices of both artist and producer – would be to require that programs only use music with the appropriate rights, which could include some CC licenced music.
Bigger picture: finding, sharing, and supporting music under CC licenses permitting commercial use
Hopefully the CBC will listen to the feedback of Geist, Doctorow (both Canadians, as it happens), and others. However, the incident is a good reminder of the opportunity for music under CC licenses permitting commercial use, sites and curators that facilitate finding and sharing such music — including letting people know about the many that do exist.
(Note that many musicians have chosen to release music with CC licenses containing the NonCommercial term with good reason; this post is meant to point out the opportunity for others, not a critique of those who have chosen to limit commercial use.)
Jamendo may host the largest current collection of CC-licensed music permitting commercial use. See (and contribute to) our wiki article with tips on finding commercially usable CC-licensed music for much more at sites ranging SoundCloud to Wikimedia Commons to Libre.fm.
If you’re an artist with experience sharing music, including for commercial purposes permitted under an appropriate CC license, or the developer of a site or other service for discovering, distributing, supporting such music, or otherwise add to this ecosystem, please let us know — and thank you!6 Comments »
At the beginning of summer, many of you told us how much you share in a survey for Shareable Magazine. The results of that survey have been translated into a study of “The New Sharing Economy” by Shareable and Latitude Research. Visually, the study features nifty diagrams depicting what we share the most and how sharing has evolved over time. Substantively, “The New Sharing Economy” reveals some encouraging trends, such as that sharing in the virtual world makes people more comfortable with the idea of sharing in the physical world (in fact everyone in the study who shared online also shared offline), and that most of these people believe they will partake in even greater corporeal sharing in the next five years.
But the most encouraging trend the study revealed was that Creative Commons is playing a huge infrastructural role in this new sharing economy—that CC is, in fact, daily saving the world from failed sharing:
“Of those who share information and media online, approximately 2 in 3
participants use other people’s creations licensed under Creative Commons.”
The benefits of Creative Commons are often difficult to see, as a functioning system is only ever noticed when it fails. But as sharing only increases over time, both on- and offline, you can be sure that CC superheroes are at work behind the scenes slashing through the red tape, identifying and fixing the bugs, opening closed systems, implementing better policies, educating the public, and generally making sure things are running smoothly so that the web can continue to grow. Because the majority of study participants also connected sharing with being “better for the environment,” “saving money,” and being “good for society”—all stuff which, it turns out, CC is quietly helping us to do.
The study is available under CC BY-NC-ND. To learn more, check out Shareable’s post, and please consider joining us in the fight for openness and innovation.Comments Off on In “The New Sharing Economy” CC is the norm
Imagine a world where knowledge flows freely and can be built upon without limits. Imagine a world where culture, art and media are available to everyone, scientific content is shared by corporations and research institutions, and shared intelligence augments human rights efforts across borders.
A legion of Creative Commons (CC) Superheroes is already at work, using our amazing tools to save people from failed sharing all over the planet. GlaxoSmithKline, a major pharmaceutical company, recently released its entire malarial data set using CC tools, speeding the urgent search for new medicines to tackle the devastating disease. Online communities at Flickr, SoundCloud, and Vimeo are making creative works available for anyone in the world to use freely and legally through license adoption. Publisher Pratham Books has begun to CC license more and more of the textbooks it provides to 14 million children in India, lifting them from a future of poverty and miseducation. When the earthquake struck Haiti in January 2010, Google and Wired used CC tools to keep information widely available to relief workers, journalists, and governments worldwide.
Our challenge ahead is to join forces with this legion of CC Superheroes to fight the forces that don’t want an open web, or do not understand that sharing is a good thing. This fall, we’re recruiting a team of CC Superheroes to lead the world in the fight for creativity and innovation. We need to raise $550,000 by the end of the year to power up and support the work we’re doing. As a superhero, your role will be to donate, spread the word, and fundraise on our behalf. As an existing supporter of CC, you already believe that a sharing world is a good world. You have fueled our work and kept us going strong, and we thank you for that. It will take nothing short of a superhero’s strength to get us to where we need to go.
Join us in this fight for a free world — donate today.Comments Off on Join the Legion of CC Superheroes!
CC has recently started thinking more rigorously about its contribution to the world. See the first post in this series for an introduction.
Alright. So a few months back, on my second day at CC, I sat excitedly at a CC desk, opened a new document, and expected myself to outline a general plan for the impact project. Nothing happened. And you can trust me, I was really aching to begin, since by the second, I could see with increasingly radiant lucidity that this project could potentially pave the way for a brand new field of thought, crucially important in terms of the impacts that it can instantiate. After all, a rigorous analysis of the value contribution could expose how effective collaboration and sharing is, and how distinctly important it is to promote it. This in turn could strengthen the creative capacity of the creative communities, on their artists, scientists, educators, learners, content generators, readers through the auxiliary platforms, providing technical and legal assistance.
But I am babbling. The point is that I very much wanted to start, but that found it very difficult. The roadblock, I came to realize, was that I had an essential primary step before me, which was to offer an initial description of the CC enterprise, one which would be manageable enough for effective evaluation. CC, after all, is a varied enterprise, which operates on many levels to promote its goal of promoting the creative commons. Where the analyst really starts sweating, is the point it becomes clear to her that on each level, CC contributes to welfare in a way that must be taken into account, and that these levels are inextricably interrelated. Or in other words, the contribution on one level, promotes the contribution stemming from the others and so on and so forth.
So after carefully analyzing what CC actually does, I came up with a three-part categorization of the range of CC activities. This categorization is based on size really, and I came up with it thinking about what CC does through a contribution lens. First, I thought that every time someone uses a CC-tool, a license or a mark, a range of advantages, potential and actual, is being accrued. Then, I thought that the support of a platform of tools creates a set of advantages, potential and actual, in its own stead and on a slightly higher level. Second, I thought that CC, by its very existence as an institution is promoting a set of advantages on a more macro level, by virtue of offering institutional support. Thirdly, it seemed to me that there is a way by which CC is operating as a pure power in the even higher space of how cultural enterprises take place, trying to nurture the existing motivations to share and to collaborate into standard practices in each of the communities which it supports.
To recap, what I am offering is to think of CC as an enterprise operating on three separate spheres, each with its distinct, although definitely not independent, value contribution. The first is the contribution to transactions between actors in the creative fields, the second is the institutional contribution and the third is the contribution in the normative field.
The idea is that this can serve as the baseline for analysis, a fundamental categorization which lends itself to further sub-categorization, by field, by activity, by actor and by CC tool, but that doesn’t lose track of the way all of these tie into the one primary goal.
To say just a little bit more about each:
1. transactional contribution
The transactional contribution: the fields in which CC operates are fields where many actors of many different types are operating. The ability of these actors to collaborate is, therefore, very sensitive to costs of search, of recognition and of cooperation. CC, by offering a range of legal and technical tools, is equipping these actors with legal and technical capacities to reduce these costs substantially. In some cases, the reduction is so meaningful as to permit an enterprise to take place, and in other cases, it just makes it better. Relatedly, the availability of tools and platforms might promote the introduction of new entrants to the fields, which in turn varies and augments the range of collaborative enterprises of all types. Under this proposed analysis, CC’s transational contribution ranges between micro advantages created by each usage of the tool, and a slightly higher level contribution which is instantiated through the existence of the full platform of tools.
2. institutional contribution
Many Economists have pointed out that the efficiency of modern markets is promoted by the existence of a stable and certain legal framework. CC is clearly operating within the Intellectual Property framework to enhance it, relying on its own institutional framework, in a way that facilitates the optimization of social production markets.
3. norm contribution
As an organization, which is active in the space of creation and its regulation, CC influences it by weighing in on the evolution of its norms. There is a distinct difference between this and the other two spheres of contribution; What through the lens of the other two spheres appears as an independent factor existing as the environment to which CC sets itself to contribute to, is under the third pillar the actual target that it sets out to influence.
Again, this is not to say that when it comes to value creation these categories are clear-cut. In fact, there are constant cross-influences between the spheres of operation which impacts greatly CC’s contribution under each. For example, a shift in the norm space directly influences the extent of the reliance on the CC institution in the different social markets, and the ensuing benefits that can be derived through usage of each CC tool. In addition, an institutional move increasing the certainty of the collaborative legal Intellectual Property environment increases the benefits stemming from each usage of a CC tool, and in turn facilitates a normative move in the direction of a tighter community of cultural actors inside the different fields. I could go on and on.
Still, the fact that the value areas are co-dependent does not suggest that the categorization is faulty nor that it is ineffective. Instead, interdependency is the attribute of a clear goal which is being pursued using more than one strategy. Yet importantly, there is nothing mandatory or essential about this categorization. In fact, it is just one out of numerous possible ones. What speaks in its favor is its clarity and the fact that economic analysis has developed to analyze contribution of each type, micro-transactional, transactional and institutional at least, if not the contribution of changes in the normative playing-field.
However–and this is important–this categorization may not be the most effective for value analysis. There definitely can be other categorizations, ones that may be more true to the depiction of the CC enterprise, and that may even be more prone for evaluation. In other words, if you have any thoughts, please share them with us–having us all think about this is part of the point.Comments Off on Investigating CC’s welfare impact, the first step
Hal Plotkin Releases Free to Learn: An Open Educational Resources Policy Development Guidebook for Community College Governance Officials
Yesterday Hal Plotkin announced the release of Free to Learn: An Open Educational Resources Policy Development Guidebook for Community College Governance Officials. The guide explains how the flexibility and diversity of Open Educational Resources (OER) can improve teaching and learning in higher education, all while retaining quality and enabling resource sharing and collaboration. Free to Learn features case studies and highlights several interviews with leaders of the OER community. The document suggests that community colleges are uniquely positioned to both take advantage of OER opportunities and to become pioneers in teaching through the creative and cost-effective use of OER.
“The tremendous promise of Open Educational Resources for advancing the mission of higher education is clear,” said Hal Plotkin, author of Free to Learn. “Higher education governance officials need only summon the will and enact governing board policies that institutionalize support for OER to move these activities from the periphery of higher education to its core, where the results would be truly transformative. We hope that this guide provides a starting point that builds understanding of OER and its incredible potential for transforming teaching and learning.”
Plotkin currently serves as Senior Policy Advisor to Under Secretary of Education Martha Kanter at the U.S. Department of Education, and is a longtime supporter of community colleges and Creative Commons. He is the former president of the Foothill-De Anza Community College District Governing Board of Trustees and penned one of the first articles about Creative Commons for SF Gate in 2002.
Catherine Casserly, Vice President for Innovation and Open Networks and Senior Partner at the Carnegie Foundation for the Advancement of Teaching (and a featured interviewee in Free to Learn) said, “Kudos to Hal for his visionary leadership in recognizing the enormous potential of OER for improving learning opportunities for community college students, and his tireless efforts to spread the word. His unique perspective as a former community college trustee provides the background to speak directly to higher education policy makers.”
Free to Learn is released under a Creative Commons Attribution (CC BY) license, and available at http://wiki.creativecommons.org/Free_to_Learn_Guide. The document will be distributed at the October 5 White House Summit on Community Colleges in Washington, DC. That event “is an opportunity to bring together community colleges, business, philanthropy, federal and state policy leaders, and students to discuss how community colleges can help meet the job training and education needs of the nation’s evolving workforce, as well as the critical role these institutions play in achieving the President’s goal to lead the world with the highest proportion of college graduates by 2020.”
Free to Learn was supported by a grant from The William and Flora Hewlett Foundation. Congratulations to Hal on publishing this important, timely document.Comments Off on Hal Plotkin Releases Free to Learn: An Open Educational Resources Policy Development Guidebook for Community College Governance Officials