Welcome back folks. We have a very special video today. I'm going to be interviewing Chris Hopkins, the artist behind the cover art for Dragon Warrior III and Dragon Warrior IV on the NES. Chris is a very talented and experienced artist who has been doing this kind of work for a long time. He has done paintings that have shown up in different museum galleries. He's done Superbowl advertisements, movie posters, and even album covers. I hope you guys enjoy the video. Hello. Hello. Hi Chris. Hey, how you doing? I'm doing good. How are you? Good.  Yeah, I'm off school now. Well, how old are you now? I'm 23 years old. Oh, you can't be losing stuff yet. That's that's my world. I'm old. You're young. What is this?  Well, yeah, I've had a bit of a rough semester, so it's kind of nice to relax a little bit, I think.  So thanks. I got a tease with you a little bit here. Got to start the day with that way. Anyway, what can I do for you, buddy? I just want to go over the same kind of stuff again. I look more into your work and very interested actually in a lot of the stuff you've done. Okay. So I'll just ask you some stuff about how you started. How did you get into art again? Well, I started, well, if you go back to the beginning when I was in kindergarten, I drew a parrot that got a lot of attention. And I realized that I liked that. And I had an older brother who was athletically gifted and it was a type of thing where he got all the attention for his athletic prowess. You know, great guy. Love my brother. And then it took me a few years to, you know, get into that sports myself. But I just thought it was something that people responded to gave me the attention that I wanted as a little kid. And I figured, well, I kind of like this. And I kept doing it from then. I had my little business in elementary school selling pictures of monsters for like a dime a piece and things like that.  Then I went to the art center colleges design and and got out and went from there, I guess. That's pretty cool. Yeah, I can relate a little bit like, in regards to wanting something to set yourself apart a little bit more. I think so. And I it's in it, you know, came to a crossroads and I was in college. I went to college on an athletic scholarship for wrestling. And I wrestled. I did that for a couple of years. And then it just really dawned on me. Well, pretty hard actually that I didn't I had the future that I wanted was not as a wrestler. I mean, the only future I had would to be a coach or something. And I did not want to do that. I wanted to be an artist full time. That's when I gave up my scholarship and dropped out and lived out of my car for a couple of years and stuff, traveled around and did all that odd jobs. And, you know, mostly being a next collegiate wrestler, I'd get a job like at a bar as a bouncer at a college bar in a different town or, you know, in Idaho and stuff like that. And which I was a terrible bouncer because my idea of crowd control was cream pies and seltzer bottles, you know, so, you know, that wasn't wasn't very good at I didn't like to hit anybody and I did not want to get hit. So there you go. I'll be pretty bad bouncer to if I ever did that job. Oh, God, I was I was horrible.  Hey, what guys want to go raise health to pop down the street?   So let's see. So a lot of odd jobs over the years and then while I'm trying to support a lot of physical jobs when I was younger, you know, before I went into art school. And actually, once I got out of art center, I had to do concrete to for the first six months, they couldn't get any work anywhere. I'd been working while I was a student for, you know, a couple magazines and whatnot. And then when I got out, I couldn't get anything. And so I had to resort to concrete work until things picked up, got hired by Willardson and White and never look back. So do you still work there at the Watson and White? Oh, God, no, they've been dissolved for years. They they were Charles White and David Willardson started that company. And they had two of us working their full time and they had a couple of people come in from time to time. But Mick McGinty and myself did the bulk of of the work there. But I left in like 1983, something like that. And then the company, I think, went went out of business, like within a year after that, not that I had anything to do with it. I mean, it's just the way the timing went. That's how it went. They everyone moved on to their different, different directions. Okay, what kind of work did you do at that company? Illustration. I was an illustrator. Okay. Yeah. So where did you go to art school again? Art Center College of Design in Pasadena, California. That's cool. Did you enjoy your time there? No, I hated it. I was broke. I was poor. I mean, I got a really good education. But I had no money at all. You know, it was one of those things to where I was just trying to hang in there and as hard as I would try, I could never get a scholarship. And even though I graduated with honors, you know, I just could not get a scholarship.  And I wanted to get out. I wanted to go back to Oregon to see my father.  So I stuck it out. And my dad stuck it out long enough to come to my graduation. And he was very, very pleased and everything to see, you know, you know, see me graduate, because no one in the family had ever graduated from any college. But no, I didn't like it there. I mean, the education was great.  And my father was dying.  But I didn't. So the long answer to a very short question, I mean, had I just said no, that would have been what it's not real cheeky of me. So anyway, I see it's it's good that you stuck it out. I suppose it helped along. Yeah. Yeah, it was it was good.  I had some wonderful teachers that I'd never would've gotten anywhere else. So before your your current project started, you did a lot of interesting things. You did movie posters, you did some Super Bowl advertisements, I believe, is that true? Yeah, I did theme art for three Super Bowls. So that would be like the the the program that everyone gets, right? It's the poster, the program, it's a theme art. That means it's well, it's it's the art they use for everything. Yeah, the tickets, posters, programs, backdrops, these lot times and videos and things like that. So that's pretty incredible, actually. So you probably saw your artwork everywhere during the Super Bowl period at the time, right? I still do it during the Super Bowl because they'll still pull those things out and put them up there, even though they were done so many years ago. They'll pull them out for other things and they'll even have what was the best Super Bowl designs of all time or something. They had one of those things out last year and put them up and it shows up a lot still. Wow. So what what years were the Super Bowl that you designed? I don't remember the years. I can tell you the numbers. There's Super Bowl like there are somewhere like 80, oh gosh, I think they like 85, 86 and 88. I did Super Bowl 20, 21 and 23. Okay. That's pretty cool. I did take a look at them. They're pretty nice looking, actually. Oh, good. Long time ago. Yeah, they still sell them in there on the NFL store, actually, your designs. Oh, do they? Okay. Yeah. I guess from that top 25 or whatever it was, two of them were, two of my three were in there. So that was that was nice. That's cool. Yeah, that's good. You also did album covers, apparently. Yes. Yes. What bands? God, these are a long time ago. So I did Oingo, Boingo. I did Sticks Paradise Theater. I did. I did some Christian bands when Zion, Petra. Oh, God, I did some RAF was a different band from A&M. Sea Wind with Pauline Wilson. God, I did quite a few. I just don't remember all of them really. I did one. Oh, God, the guy who was in Super Tramp. I can't remember. Anyway, but I those are the ones that come to mind right now. The Sticks Paradise Theater. I was I was a finalist for a Grammy on that for album package design. So so you were nominated for a Grammy before? Yeah. Yeah, I was a finalist for that album package design for Sticks Paradise Theater. That's pretty cool. And I did some for what was it? It was a movie, White Nights. So they use that for the movie. They did it for the soundtrack as well. So are there any other movie posters that come to mind that you've done in the past? Yeah, I mean, I worked on on loads of them, but the ones that actually went to the end were like like Indiana Jones and the Temple of Doom and oh, God, I'd have to think Ruskies was another one and all the ones I worked on. I worked on the original Return of the Jedi and and. Oh, God, I mean, they're just they're just so many.  Did that matinee Christmas story? Lord, there's just there's just so many that I just forgot all of them. Yeah. Yeah, I don't remember. There are so many. I mean, I could look them up and try to find some things on them. But but it was it was a long time ago. OK, so how many paintings do you think you've done like over the years? Just thousands, thousands.  Or I mean, I was illustrating when I was 78. Well, not when I I'm not 78, but in 1978. And I've just and I paint and draw every day, you know. So I really it would literally be I mean, I if you count all the finished drawings, it would have to be thousands. Yeah, I just can't. I can't even imagine where all of this stuff goes. I mean, you could safely say hundreds, but that would be inaccurate, you know. But I say thousands of people like, ah, he's, you know, what he's been drinking his bathwater or something. That's just I think it's really true, though. I think if I went through everything, I would see that it would be. I mean, it's it's a lot.   So yeah, just put a lot, you know, just be on the sale. Just say a lot. So every day you paint in there and draw. Yeah, every day. Wow. I'm pretty obsessed with it, you know. That's great.  Yeah, I just have a detached garage that I had converted into a studio years ago. That's pretty. That's where I'm at right now. It's not bad. So works out OK. I was looking at some of your exhibits. I noticed that you have a lot of exhibits focusing on parts of history. This is something you're interested in now compared to. Yeah. Yeah. And compared to what I'm sorry to hear the last year. I didn't say anything. Oh, I thought you so I'm interested in compared to something. Yeah, I am interested in history. I think it's amazing. I think we can learn a lot from that. When I like say, friends, when I started on the things that's really passionate about like Tuskegee Airmen, it wasn't as big or as well known as it has become. Again, that has nothing to do with me. It was just the timing just happened to be the right time. And I started working on these things for a few years. And I know George Lucas put out another movie while he put out the only we never did. But the second movie I saw in the Tuskegee Airmen and that gained a lot of attention for the Tuskegee Airmen. The internment that was when I worked on it wasn't as known as it is now. Again, I'm not being any delusions of grandeur. You're like, I need to do with it. It was just timing again. And and that has to with my, you know, my wife is Japanese American and her family and it had to do, you know, a lot with that. But I am, you know, I think we can learn a lot from history. I'm not an activist in any way. I'm a historian and I will paint history things and people can, you know, kind of join the dots and make their own decisions and how all that stuff compares to things nowadays or what not. I don't tell anyone how to think. Let's say I just present what I believe to be historically accurate out there. My 70s site. So your Tuskegee Airmen collection has over 40 paintings, apparently. Oh, it's got like 70. Seventy. Well, yeah, there's a lot in there. I had to stop doing it because I wasn't getting paid for it. Just doing it. And after a while, I, you know, my wife is a wonderful woman and she has stuck with me through all this doing all the free stuff. But, you know, that's enough.  So instead, I started doing free paintings on the on the Japanese American internment. So. Oh, there you go. So what aspects of each subject kind of drew you into Tuskegee and the internment camps? And. Well, the Tuskegee Airmen was something I was familiar with them with, you know, who the Tuskegee Airmen were. I wasn't didn't have a whole lot in depth knowledge, but I was a artist for the U.S. Air Force and what they would do, which they don't need more of what they did is they would have a biannual celebration where they would turn over the artwork for all the artists who turn over to the secretary of the Air Force and from there would either go to the Pentagon or wherever it would go or go into archives or go to a base around the world or something.  And so they told me, well, just paint what you want to paint. You know, I said, well, I'm going to do a history piece on the Tuskegee Airmen. I did that. The first piece I did was received better than I had thought. And so the guys at the Pentagon asked me to team up with CBS to do a documentary where they were going to follow me around while I interviewed Tuskegee Airmen and then painted them, you know, things like that. CBS dropped out. I was so involved in it. And I found the subject so compelling and so inspirational that I just kept rolling with it. And the Pentagon helped me out. So it became kind of a partnership between the Pentagon and myself. And I just got more and more enthused as I found out more. And if I had my way, I would probably do another thing that isn't Tuskegee Airmen because they get a lot of attention nowadays, but there's a lot of other African-American groups from back in that era who didn't, who served honorably in either the Marines or the army or something, where the Air Force, well, it wasn't the Air Force back then, it was the Army Air Corps, which is where the Tuskegee Airmen were in. But it would be nice to shine a light on some of these other real heroic people from back then. Yeah, it's a great story. I heard about the George Lucas movie. I haven't seen it yet, but it's not good. No, I wouldn't recommend it at all. OK, OK. Yeah, just look at the historic things they have on it. You can find some actual history things on like YouTube and whatnot, but the movie was really, you know, wasn't very good. OK. And that the collection was done in what year? 2014 or? I started it. The first one I did was 2006. The first one I did for the Pentagon that got the attention. And then I started, you know, putting adding to that the bulk of them were done in 2012. And then I did a few after that. But yeah, I would say the bulk of them were done 2012. OK. And were they displayed anywhere? Oh, yeah, they've been they started out at the Museum of Flight in Seattle. Then they went to the National Air Force Museum for a year and Dayton was. Yeah, the National Museum of the United States Air Force. Then it went to the Rosa Parks Museum. It went to the Southern Museum of Flight. It went to the Future Flight Museum in Muckltea, Washington. It went to the Gadsden Museum of Fine Art in in Gadsden, Alabama. Then it went to the Shack Art Center in Everett, Washington. And I think other places between in the course, it was at Bowling Air Force Base and Andrews Air Force Base. We've got probably somewhere else. I'm forgetting right now, but but yeah, it's been around. It's traveled around a lot. Yeah, yeah. And it's not done. It's not done traveling. It's just working on other other venues right now. OK. And after that, you started the internment of Japanese Americans Collection. Yeah, I started that with my wife, who is a different kind of an artist than me. She's a three dimensional national materials like Sculptor and Weaver. And she does just wonderful work. So she and I started working on that project together. OK. And is that completed or did you display it already? Well, we we display. Yeah, we had the first place where we've got other venues. We've got a real big show, but that's in 2022 at the Bainbridge Island Museum of Art. Bainbridge Island is where the actual roundup in an evacuation process. The Japanese Americans started in March of 1942. First from the ground zero place was Bainbridge Island. And they're going to have the 80th anniversary of the evacuation and there and where that's what our show is going to commemorate is that. But we've had the first one we had was at the Shakar Center. And we've had interest in a lot of other places. We just haven't nailed down any of the venues besides Bainbridge. Yeah, but it's ongoing. There's still some things I need to need to cover and explore. I get emails from people asking me if I will, you know, read this and that and then come up with something for it.  And I want to keep doing.  But that's, you know, been there and done that with the landscapes, cowboy stuff, I've done some of that, but I have no passion for it. So I don't do it. I do commission work to pay the bills, mostly portraits and things like that. You know, the other stuff I do because I love to do it. And that's why I do it.  But at least I paint what I love to paint. Yeah, that's good. At least you're not, you know, stuck just doing what you don't want to do. Did that for too many years as an illustrator, you know, so. Now it's different. Take those skills you learned through all those years and apply them to something you really want to do. So there you go. All right, I can see that. So I wanted to go back to the Dragon Warrior games for the NES. I just want to ask again how that whole thing happened. I just got hired to do it is all really I I can't remember all this stuff for the the who the art director was or anything like that. It was just a matter of someone hired me to do that.  Well, you take a look at it and yeah, then I'll do it. I did a lot of gaming stuff, yet I never played any games. You know, I just they were just tired of me to do that.  We want to the next work, you know, and I think about it again. That was kind of where I did it. I see. So Dragon Warrior three and four. Those are the two games that you did in the Dragon Warrior series, correct? I guess so. I can't remember. I mean, there was one with all the the sword or all the arms, you know, the axes and swords and all that kind of stuff. And they had like a crystal ball with a golden dragon sitting on it or something. Yeah. Yeah, that's one. And I think was the other was just the hilt of the sword, like a ruby type thing. Right. It was green. Yeah. Green background. And I think if I remember the handle of the or the hilt of the sword was kind of rubies or something like that, red of some kind. That's all I remember of it now. I mean, I should, I guess, pull it up and see, but it sounds familiar because I, you know, I totally forgot about all those things until I think you brought it up last time. Right. Right. Because in our like little Dragon Quest community, we kind of have you wondering who would painted those for years. We like never even knew, you know? Uh-huh. OK. And people have been trying to find out and all this and then I found you and it turns out you're a little more, you have a lot more or under your belt than I thought you would. Oh, it's it's pretty ridiculous. Yeah, it really is. It's all the stuff I've done is pretty. I mean, like I've been doing a long, long time. So I'm trying to see if I can find this dragon warriors, too, was it? Yeah. Yeah. And that's the one with the sword, right? Yeah. Four was the one to sword. Oh, four. OK. Let me see if I can get that. OK. Let me make sure because I'm sure that's, you know, that's what I did. I mean, well, I know what I did. I just don't know the number on it. Right.  Let me see. Well, anyway, I'm still looking this up, aren't you? Ask me whatever else I can tell you right now. OK, so do you remember how large the paintings were for Dragon Warrior? Probably the one with the dragon on the crystal ball was probably 16 by 20, something like that. 16 by 20? Yeah, that was usually a standard size. I would work the other one was bigger. Oh, golly, I don't know. Because I paint a lot more and they'd crop in on it, probably oh, 28 by 24, something like that. That's pretty large, actually. Yeah, it was pretty. It was bigger than the other ones, so, you know. But yeah, let me still do this. Yeah, they were what they were, what they were. So, you know. OK. And do you remember what materials you used for those two paintings? Yeah, the one with the crystal ball one was just acrylic on illustration board. And the other one with the sword help was oil on canvas. OK, yeah, I kind of, that's kind of what I thought. Yeah, I want more traditionalist people. I was at that stage where people were starting to get into digital. And I went totally the other way and got rid of airbrushes and the acrylics and started doing this. Traditionally, they could be oil on canvas type thing. Yeah, a lot of people don't do that much these days. It's mostly just digital. Everyone was into that. Oh, absolutely. Yeah, it's it's really that's kind of what it is, you know. So, um, so, yeah, I'm a throwback to that those old days. So that's good. It probably takes a little bit longer, though, because on a computer, you could, you know, do very fast. Oh, sure. Sure. No, I that I understand that everything goes real quick. But that's why I got into doing the other stuff, too. I kind of hit my limit, I think, as an illustrator. I did some illustration work after that. I mean, I even did some maybe as recent as a year and a half or two years ago or something like that. But normally now it's I just, you know, do a lot of portrait commissions and do the the stuff that the museum stuff, meaning the internment, the the Native Americans do a lot of work with them. Because he said I like to work with the people. That's one of the things like that the cowboy thing I'm really not interested in. It's planes stuff, everyone and their dogs doing it.  And they, you know, come back in the studios and dress up as cowboys and stuff like that. And that doesn't interest me. But what does interesting with the Native stuff, I work with the Northwest Coast guys and I actually go up and stay with with them for a while. These aren't, you know, just whatever rendezvous and stuff. You go up there and stay with them. You learn about them. You attend their potlatches. They, you know, the natives are honored. I've been honored in potlatches. My wife and I both have several times with some of the the tribes up here. And it's more of a real experience for me, you know, as you're trying to really, you're not romanticizing anything.  And then work with, you know, archaeologists and anthropologists as well. Like here at the University of Washington or up at Simon Fraser University or some of the places, you know, in Canada and whatnot. So to me, it's more real experience. So. OK. Are there any current or upcoming projects like big ones that you're working on right now? Yeah, I've got I'm working on a book project with my wife on a lot of my my whimsical paintings. But I'm also I also have a show next year with a big, a big show actually. It's going to be up in Everett again, Washington. It's going to be with David Boxley, who is considered the finest native artist of his generation. And he and I are going to be working together on a native, you know, two different cultures, but one voice type thing. He and I are real good friends and and, you know, work together on a lot of things. But this is one show we've been trying to get together for a number of years.  You know, I have a feeling of respect. So we're working on that. I've got some things in the hopper with the the Buffalo Soldiers Museum in Houston. And you know, I've got a number of things going to get it. They're going to have a show at the Pentagon of Vietnam pieces. I mean, we have a lot of pieces. They're pretty, I guess, prominent in that show as well. So and I am the Air Force is flying me around to paint women, first women, like say the first one, first and only African-American woman, you two pilot, I painted her. And then I went back to DC and painted the first African-American female three star general. So I painted her and I'm going to Texas to paint the first Hispanic woman fighter pilot. So I got that. There's always something going on, so which I'm grateful for. That's cool. So those are like government collaborations, kind of. Yeah, they're just I'm doing those for the for the Pentagon. They're asking me to do that. So. Wow. So and I like said, I've got those others that have already been done. So, you know, it's it's it's going. And then my wife and I have been we've been down in New Zealand, you know, the Maori and things like that. You know, to me, that that's really exciting stuff is stuff like that, you know, going to work in with with different cultures and leaders of those cultures. And that's, you know, I find that real interesting. So I do a lot of that. You travel a lot. Yeah, at times, I do. At times, I'm gone a lot.  My wife does a lot.  So, yeah, that's that's kind of some of the things I can remember that I have going on here, but I know we're going to have more to coming up. So that's good to hear. And you said you were working on a book. Yeah, my wife and I are working together on a book on on my whimsical stuff. I don't know if you've ever seen any of that because I don't post it everywhere because we're trying to, you know, keep it kind of on the QT until we get you know, the book done and out and stuff. But I do a lot of stuff that are based on ridiculous sketches of my sketchbook. And then I paint them up and my wife has been writing a story about behind them. So. So anyway, that's that's one of our big projects coming up. All right, I'll keep an eye on that. That sounds very interesting. Sure. All right. And I think we'll finish soon. Do you have any advice for like painters who want to get into it? I mean, even myself, I'm getting a little bit more interested in painting lately. Well, you know, it's something that you really wanted, you know, I think you've got to love it to or want to love it, I guess. And and then just pursue it. You know, if you like it, you can put the time in it. I mean, if you're going to if you love digital, you put time in that no matter what you do, it's just a matter of your art form. But one thing I would say, don't get discouraged too badly.  You're never going to make it, blah, blah, blah. You don't listen to that stuff.  You know, the thing is, is to just keep working hard at it, you know. If you want to enter those contests, I don't personally, because I don't I don't do that anymore. And I'm not interested in it. But if that's something you want to do, you should persevere in that as well.  And that's that's your best way is just what's going to get you over the top is your love for your craft more than anything, you know. So and always be a lifetime student. And if you love it, you will be. You'll always be learning and expanding and experimenting with these things, even when you're old, you know, been in the old meaning. You've been in the business a long time. You'll always, you know, find a passion for it. And that's what I would say. Long answer, of course, you can distill all this down because you're the writer, not me. This is good advice. Thanks. I appreciate it. Sure. So I think I'll let you go. Thanks a lot for talking to me again. I really appreciate you taking your time to tell me a little more about yourself. No worries. If you need anything else, just let me know. Of course. Thank you. You bet, buddy. Have a good one. You too. Bye. OK. Bye bye.


Now, the candidate of PDP for the House of Representatives by-election, Ullumi Wadu, has emerged the winner of the vacant seat in our Coronaut South slated for February 26, 2022. Of a total of 233 delegates who participated in the prime election, I do one with 98 votes to push Kemisola Desire, who got 70 votes to second place, with three other aspirants also getting some of the votes. Chairman of the five-man electoral committee, Emos Fawali, while announcing the results, commended the aspirants for conducting themselves in an orderly manner. And I can say categorically that since the day I got this invitation to go and contest this election, I am determined to see that whatever my lay and my hands upon, can never fail. So for 2023, it is my project. It is the project of the leaders I look up to. It is the project of everybody to ensure that we change the current situation of this country.


Hello everyone. Good morning to you all in Malaysia and hi to everyone, wherever you are. Welcome to this fourth episode of designing and development of massive open online courses. I am Nishra, your host for this session from the Commonwealth of Learning with me, Professor Dr. Feng-Suk-Fu from University Malaysia Sabha. We would facilitate this session today jointly. So today's topic is instructional design for massive open online courses. As I have been emphasizing, this is extremely important because if a course has to be successful, the most important thing that we need to think about is instructional design. What is instructional design? It says a systematic process of creating learning materials and experiences to optimize human learning. You will find, if you Google it out, you will find different types of definitions all over. I tried to summarize from everywhere else. And according to me, instructional design has three important components. The first one is that it's a very systematic process. It can be applied for material design and thinking of the overall experience. So it's an experience design for a learner. And the ultimate overall goal of instructional design is to improve learning. That means taking certain systematic state, we can improve the learning of our students or anyone who is going to take a massive open online course. If you follow some systematic process to design our learning material, to design the whole experience that students will go through in the MOOC, will have more impact and more success for our learners. That's the overall idea of instructional design. What is being taught? Instructional design is to a teacher. What a drawing is to an architect. If you want to build a building, the first thing that you do, you start doing a drawing. Do a sketch of the plan and you do the sketching of the building, how it will be done. So the same thing is instructional design. And not to think about instructional design as something that is useful in distance education or online learning or MOOC. Instructional design is actually for all the teaching and learning that we do, even the face to face teaching and learning we do. We don't have the time as teachers, we do instructional design, but we may not be using the term instructional design and most of the things that we do are implicit. We don't tell it as instructional design as such, you will understand yourself what I'm talking about. So there are a large number of instructional design models. There are lots of theories. These theories and these models are based on human learning and cognition, learning theories. You might have heard about behaviorist theory, the cognitivist theory, the constructivist theories and the connectivist theories and so on. There are a large number of theories and models about how people learn. So taking those things, many researchers have come out with different models or instructional design, which are nothing but systematic step-by-step processes they have come out with. There are large number of models, but some of these in the screen that you see here are kind of key instructional design models that are used. For example, ADE. ADE is the most widely used in the industry also on most places. ADE is a very common thing. Analysis, design, develop, implement and evaluate as steps. The other one is ARCS. This is by John Keller. Attention, relevance, confidence and satisfaction model. The other one is Azure model, another group of researchers from Molinda and others. In a way, we can talk about an expanded way of ADE. Analyze, state your objectives, state and select and design the learning materials. Utilize the learning material in the class and get some learner response like asking questions, feedback and then evaluate everything. The four component instructional design model is particularly most useful for complex subjects like medical science, for example. So what he talks about the four component are learning tasks, past task practice, procedural information and supportive information. So, and then of course, the decan carry model, which is also a kind of systematic process with a feedback loop to allow us to rethink about our design process. And of course, backward design model is another one that you start from from the end, the product what do you think about happening. And then, of course, nine events of Guinness, there are nine different things that you should be doing. And community of inquiry model. That was a lot of research on community of inquiry. See why it was done here in Canada in Atabasca University and colleagues and there are lots of other examples. Some of the examples that I will share here for your understanding to give examples, I'm not going to take everything because instructional design itself could be a full, you know, three to three to four credits course. So, highlighting Guinness nine events of instruction. So, if you are looking at your content, what do you do, you know, and this is particularly useful for one lecture or one session. Okay, so you start you ask to do something that will help to gain attention of the learner. You can show them about the learning objectives, help them to recall prior learning so that they can connect, but we are going to talk about to end the lesson, they can have connection, present the content, provide guidance whenever required. We are holding on and off during the process of teaching and ask questions, get feedback, help them to practice, assess their performance. And all those things will help them to transfer their new learning to the jobs. So, that's the nine events. When it online, we can use lots of different technologies for doing different events. How can we do transfer these things into our online course or our massive open online course we need to do to think about those things. So, if, if you want to gain attention for your MOOC, what will you do, you might like to use social media a lot so that you can use SMS so that you can get more learners to your course. Or before the session, for example, you can, if there is a synchronous session, you can send messages to them so that they, they are alert to come. Those kind of things so you can, you can review about all these things. Community of inquiry model looks into three important components. The social presence, the cognitive presence and the teaching presence. The teaching presence is more about the topic and content. What is that you are going to do? What is the subject model? Teaching presence is all about how the teacher is engaged in the, in the process involved in the, in the teaching during the delivery and social presence is about supporting student to student connection and so on and so forth. We are trying to make it more simpler or simplified at this stage. Those who are interested about Community of Inquiry, our Guineas Model, you can go more and learn. There are lots of resources. What is important for us is to, when you are designing online courses or massive open online courses, how can we build the presence, three types of presence? How can you build social presence? How can you build teaching presence? How can you build the cognitive presence? Okay, so that you provide a total educational experience to the lab. That's what we need to think about. This is another model. This is something that I did some, sometime in 2002. What I did is that this is what I call an eclectic model. So I've taken the best practices from behaviorism, cognitiveism and constructivism and try to put it to an online environment. So what I did that, okay, if you are offering online courses, you should have very clear objectives. You should have self assessment online so that you can give no feedback to the learners. That's coming from behaviorism and that's more content focused. Okay. Using the principles from constructivism, I've talked about you should engage the students in discussion forums. Allow them to read and learn themselves. So you provide content so that they can engage in and then they can have discussion. And then looking into learner support as a cognitive practice. So you provide them guidance, scaffolding process, provide them online support, library, social interaction, synchronous counseling. This also you can superimpose this with social presence, cognitive presence and teaching presence also in a different way. This is another model. We were presenting another paper about Eric model. What we call is construct. First is experience, reflect, interact and construct. What do we mean? Experience, you provide the learner a certain kind of experience. And this experience can come by listening to an audio, by watching a video, by reading a text or interacting with somebody else. So the experience can come from it could be synchronous, it could be asynchronous, it could have different ways. So once the learner has some experience, allow the learner to reflect, think about it for himself or herself. Remember learning happens within individual's mind. And that's how we learn things from our different perceptions. And then it goes to short term memory and then it goes to long term memory which helps. And then later on we retrieve information, correlate information and develop patterns to have new understanding and learning. So let the learner to reflect. And then once the individual reflection has happened, you should create situation where the student learners can interact among themselves. That socialization happens, social understanding of learning happens. And from there, allow them to construct their own learning and knowledge. So again coming back to constructivist approach, knowledge is learning is nothing but social construction of knowledge. So you construct your own knowledge and understanding as an individual and may also be in a collaborative process. So if you allow these four things to happen, you are in a good position that you are doing something good that will help students to learn. To learn means to transform information from a short term memory to a long term memory. And I think that's what we need to look at so that the transformation happens, not only in the classroom, but when the person goes to work. That's something else so that can relate the lesson that the person has learned to the future experiences and events. So having said those models, remember this is what something I talked about in probably in the second webinar, designing a book is designing a course for the unknown learners. You don't know who will come to my course. I don't know. I am designing the course with some assumption in my mind. I have done some need analysis. I know my target group, but I'm not sure who is going to register in my book. I have given a prerequisite, but anybody can join. So this is a challenge. How do we make this balance about understanding the learner and develop designing a MOOC that anybody will join. That's the kind of balance we have to do as a teacher. Here, our role is teacher as a designer teacher as somebody who is perfecting things on the go. But as a MOOC, it has to be something that we decide in the beginning. Instructional design is important and that's what we are doing today. We are looking at, we will look at the topic that we have chosen, how we will offer those courses. Use a particular instructional design template to elucidate or clarify our ideas more before we actually go into developing the content. Instructional design is my blueprint for developing the MOOC. Some guidelines. MOOCs are like an event design. They always have a starting date and an end date. As I said, we'll use a basic template because if you are using MOOCs in an institution or you have a platform, many times your design is also dictated by the platform that you will use. So it's better to use a template. You should always have a small trailer videos which you can add a marketing tool. Gain attention. Remember gain attention and guidance things so you can get more learners. Design a survey instrument to understand the intent of the learner. Why they are joining the course? There are lots of research which says that we talked about this in the second webinar. Now, if you look at the intent of the learner and then look at whether they are dropped it or not, your percentage of success goes up. So understanding their intent is important. You should use videos, quiz, PR assessment, discussion forum, projects, etc. Different kind of learning experiences depending on the requirement of your course, the requirement of your subject. But overall, don't overload. Now think about the workload of the people. Now, more than three to five or five hours normally per week is considered high workload, particularly in the MOOC environment. Think about assessment. What kind of assessment rubrics you will use? Whether you will give a certificate or not?  Who is entitled to get a certificate? Those things need to be clarified in the very beginning. How will you get the resources? Reading materials. Whether those will be open source or they are paid course documents. From where you will get the permission or whether the institution will pay royalty for using any reading materials in the MOOC. But having said all those things, last but not the least, use short videos. Don't use long videos. Research shows that the optimum time people use to watch a video is about six minutes. So normally what I say is to do a video which is between about six to 10 minutes kind of thing, not going, we're doing more. But sometime it might be a requirement, but you will have your own experiences as you will go. But create short videos. You can do more, but do short videos. So coming back to the instructional design plan, what are the key components? Defining course outcomes. This is very important. So the course outcomes that you define has to be in behavioral terms. It should have active verbs. It should be measurable so that you know that learners have achieved those outcomes. I'm not going into those designing objectives in the sessions. You should have a course description. Some of you have already worked out a course description, but need to be refined. A course description should include what it is for, why it is important, particularly emphasizing how this is going to help the learner do X, Y, Z. And who should be attending this course? Those kind of things, if you write in about 200, 300 words, that will be a good course description to talk about. Now the most important thing. Some of you have I've seen and quite impressed have worked already on the content outline. So an instructional design document or instructional design plan will have a week-wise content outline. What will be done in week one? What will be done in week two? And if required, you can have week-wise learning outcomes, week-wise learning objectives and activities schedule. What are the learners going to do every week? They're going to watch some videos. They're going to read some material. They're going to have participation in discussion forum. They're going to do some quizzes. They're going to do some activities or assignments. What are those things they will do? And which of the component will be considered for assessment and certification from those things? Which are the course materials that will support those contents? Which are the key course materials? Some of you are referring to standard test books. Yes, you can use a standard test book. But you might like to find open educational resources as standard materials as well. But which are the course materials that you will recommend the learners as to those kind of things need to be identified. And of course, coming back again, once you clarify what I will have X number of videos. I will have these resources. I will do these things this way. Then you will be much more clearer to articulate the budget. Then you will look at, okay, my budget will look like this. This is the kind of investment my university is going to do, including my time, my efforts. Because you are also celebrating stock. So that has also some value for your time. You can calculate the value of your time for budgeting for purposes. So that you will understand the overall value of the course that how much cost it cost it. And then you can analyze. If you have 1000 students, you can say, okay, 1000 students benefited from my course. So the cost per course is this. And that's how you will look at impact of the course later on. At this stage, Professor from there are no questions, we would thank everyone and I look forward to the assignment, the activity submissions from everyone. And, and large numbers, of course, and look forward to exciting exciting ideas from all the participants and see you in the next session please. Yes, thank you very much for the special sharing. Thank you. Thank you very much. Thank you, everyone. I'm closing the session right now.


Welcome ladies and gentlemen. We're talking today with none other than Dr. Joe Salerno our VP for academic affairs and Joe has written an article just about a week ago Entitled Mises on nationalism the right of self-determination the problem of immigration. It's really a sweeping article Joe I think it brings up a lot of the points of debate that are current not only in Austrian circles, but in libertarian circles and and really In greater political circles now in the US in the West as well So I think it's worthy of discussion ladies and gentlemen will post a link to it As well as I think a link to Guido Hulsman's Biography of Mises the last night of liberalism because there are some sections in that book I think really pertain to what Mises was thinking and how he developed his thought on this But Joe what I like so much about this article is that you you're willing to tackle some of these problems from Mises perspective The idea of subsidiarity versus universalism of the notion of free migration and immigration versus self-determination And there's a lot of tensions inherent in these and I think a lot of the rhetoric out there on Open borders and immigration and nationalism is facile It doesn't necessarily take in all the points that we ought to be considering but let me let me start with this Mises of course born in the late 1800s in the in what was then the Austro-Hungarian Empire and what is now where he was born Now part of Ukraine. I mean this is a guy who saw a lot of different languages a lot of different nationalities Ethnicities all sort of subjugated by monarchs and so how does his his experience of growing up in a polyglot? Region of the world be prior to World War one How do you think that factors into to his entire worldview on on nationalism and migration? I think profoundly affected his worldview on nationalism on nationalism and on on immigration you know being in the Austro-Hungarian Empire with a multitude of of nationalities different languages traditions and so on he he saw that when when political power was exercised by by majority in a certain area that in it evidently resulted in Let's say a situation and and an interpretation of the laws if not the laws themselves that were oppressive to the minority and they were oppressive both intentionally and unintentionally people naturally thought that their Culture and the and and their way of thinking their ideology their wealth and shown their worldview I should be spread and and imposed on on the minority Well, you talk about Mises in this article as a cosmopolitan and that that's not necessarily Certainly not in Mises view at odds with nationalism per se I mean first give us give us sort of your thumbnail definition of cosmopolitanism as Mises would have understood the term as Mises understood the term it was situation where people's different people's and different nationalities lived peacefully with one another and interacted through through trade free trade and Had no animus had no reason to want to extend their political political control over other nationalities and peoples and we talk about nationalities I mean that's a word. That's very nebulous. It can apply to different linguistic groups Which it certainly does but also to people of similar linguistic groups Maybe of different religions or or people who had lived in on different sides of the mountain and and had different experiences That caused them to have different cultural affinities and so on But I think a lot of times today the term is used as a denigration towards provincial Nationalists or people who want to cling to tradition or cling to You know their their own culture as opposed to people who are more worldly and better traveled and who who basically want Multiculturalism as a universal value. Yeah, well, you can think today of think of the Amish in parts of Pennsylvania and Ohio They might be provincial in some sense They're they're they're bound very closely together by customs traditions and religion, but yet they're very cosmopolitan If you visit there, they're very welcoming and you you know, they they buy and sell They allow you they actually have Bed and breakfast that you can stay in but on the other hand They they look at the rest of the world as as different from themselves and that and as their culture as being something That's to them superior to to other cultures now at the outset of the article you talk about Mises definition of liberalism or how he would have thought of it you sort of provided two pronged Analysis for that, but you also talked about classical liberalism, which David Gordon argues is kind of a made-up Expression in the 20th century because progressives came along and stole the term liberalism somewhere probably around the Great Wars when that shifted But let's talk about your Mises is definition of liberalism is having two problems one being freedom and self-determination But also the nationality principle, which you take pains to point out is not statist right in nature, but I Think a lot of libertarians view nationalism as inherently Statist and ill libertarian and and as you point out digging a little deeper Mises did not necessarily agree Yeah, so so so Mises saw liberalism as composed of two principles One of which was sort of freedom and laissez-faire in domestic policy And the other of which was what he called the nationality principle now by that what he meant was that when people are free to form their own political Units that they tend to form them in a way that results in people of the same nationality the same language living together under The same set of laws so what what he was at pains to Point out was that people did not that that this nationality principle was not the cause of Different nations, but really the result of them. It was the result of people's Self-determination so the principle of self-determination Resulted in people who self-identified with certain cultures and languages forming a political unit so liberalism itself the appeared on the scene as sort of a revolutionary movement against these foreign rulers That were imposing You know that were despotic and oppressive and so as an old Mises looked on on Nationality is getting together in the political unit Germans Italian Serbs as An alliance of the oppressed against the the foreign oppressor. That's why he raised it, right? And also his experience in World War one. He was obviously someone who was an Austrian Patriot visa visa the Russians And fought personally against the Russians in World War one That I get the sense that Mises is using the term nationalism in a way that that people used it before World War two I think Hitler and the Nazis really changed in people's minds what nationalism is But maybe maybe the term's gotten a bad rap and I want to give you a quote from your article. He says Mises contends that nationalism is thus a natural outcome of and in complete harmony with Individual rights and I think a lot of people would not see nationalism that way today. No in fact Mises does distinguish between Sort of aggressive nationalism and peaceful or liberal nationalism he uses those terms over and over again or sometimes militant nationalism as being also aggressive nationalism and so from Mises point of view Peaceful nationalism was just a nationalism that was a natural nationalism that arose from these two principles of laissez-faire and The nationality principle that is based on the right of self-determination When you had polyglot territories that is different Languages people who spoke to flying living under the same state as we did before and after World War one That's when militant nationalism got its start and that's how you know Hitler got his start that he wanted to bring all the Germans The dirt the German nation in under the control of the German state So that was aggressive nationalism and he wanted to subject other people's in those areas where Germans lived to the your two two two of the the despotism of of his state Well, I think we have to consider also not only did did Mises grow up in the in the old patchwork of The Austro-Hungarian Empire, but he also lived in time before mass media created much more of a monoculture in the west that there were Really differences among peoples and territories and languages now today This always gets uncomfortably mixed in with race And I think that's that's sort of the bed bug in this whole Conversation about nationalism and immigration but When you when you you move on in the article talk about Mises views on colonialism I was talking to you offline about how that you could read something like this in the nation or here at an NPR I mean how The degree to which he hated European colonialism and thought that it would it would yield very bad things which it did and continues to do but there's a There's a a quote here from Mises not from you that's particularly Striking today Europeans must not be surprised if the bad example that they themselves have set in their colonies now bears evil fruit So it almost strikes me as a parallel the colonialism of the 1800s and early 1900s versus the interventionism Today of Western countries in the Middle East Yeah Well, I mean the earlier the earlier colonialism Mises was was fighting against hypocrisy that said well even if if we Should leave them alone. They're not fit yet to govern themselves and Mises of course They're not fit to govern themselves at this point because they followed your example You know the suppression of of the indigenous peoples What was was the main point of of colonialism they're enslaved in their expropriation Well, you know Mises of course was a Democrat. Yeah But I think he he saw democracy differently. He didn't he didn't see it as mass multicultural democracy and and I think that that's evidenced by your treatment of of of his jaundice eye towards Majoritarianism majority rule and that for minority populations within a political area Their life was was much like Those in the colonies in other words if you're a minority in a democratic Political apparatus You're sort of colonized. Yeah, I mean he made that point very strongly says who cares if It's a result of foreign conquest or of a majority That you're living under certain rules and laws that you had no really no part because you don't speak the same language No part in in helping to formulate Even though you might have representatives minority representatives in in the legislature. They really There is no chance that that their thoughts are going to be heard and acted on Well, and he talks about that the natural antipathies that may or may not Exist between people and I think you see this even in the US today Look at the antipathies produced by democracy the people who hate Trump's guts, right? Right now feel that they've lost their right of self-determination. I mean, this is what a vast social democratic Majoritary majority welfare state looks like right. I mean if you that's right if you hate Trump I Guess you feel put upon right now. You feel oppressed you feel disenfranchised, right? But but What means would say to all that is of course you have the chance of being the majority again There's someone of a different nation nation in the in the in the in Mises's sense of a people who self-identify with a certain religion Language and so on there. They're all they will they have no chance There's no prospect of ever becoming a majority. I Hillary might win in four years, right? But the the Cherokee nation is never going to get its president in the United States Exactly and the other thing I noticed that open borders libertarians. I never hear them say that Cherokee nationalism is a bad thing In and there was point in other words. I think I think most of our listeners would say a Real Cherokee nation ought to be completely Independent of the US federal government it ought to not pay taxes not follow federal regulations It ought to be sovereign territory even if it exists within the the borders and confines physically of the current United States Yeah, I agree with you and I think you know the the US government has co-opted These nations who initially these the Indian nations would probably have wanted to be completely free of the of the US But now they're tied into the state governments. They have casinos that they've been co-opted So they're no longer a separate nation and no no longer have a yearning To to exercise the right of self-determination unfortunately because of the welfare state Well, then you delve into this thorny problem of Physical movement of people migration of people versus self-determination and and you identify as Mises did the tensions here And one point that Mises makes I'd like you to touch on is that when states are illiberal The the nationality principle that that he saw as part of liberalism becomes more important because the state is Providing welfare of the state is is is controlling life through regulation. Maybe through socialist ownership So the idea of of a nation within the state Becomes exacerbated or heightened. Yes, it does the national conflict the nationality conflicts become heightened because the Lord's of the state is the more margins on which it makes decisions that impinge on on on the rights of Of of the minority populations so Interventionism exacerbates any natural antipathies that may exist But they they really don't even go national nationality conflicts actually still even exist under a laissez-faire liberal Democracy in which there is no Right of self-determination in which people cannot opt out languages, you know linguistic groups and so on So Mises goes beyond saying that if we just get rid of the interventionist state And we have a minimal state laissez-faire state things would be fine He's he's as well. Well things certainly are worse under socialism or interventionism for the minority nationality But but they're not fine under laissez-faire liberalism. In fact, we've not completed the liberal revolution yet We have to allow the exercise of the right of self-determination of peoples And allow them to opt out because even where they're just administering the courts and And and contracts and so on there There's there's ways of of the majority Imposing on and oppressing the minority. So this this calls into question where they've even if we had some kind of minimal night watchman state Would a multicultural society still be free would people still feel that they had self-determination? But of course at some point it's it's an impossible problem I think Mises even says this that you can always get to a smaller and smaller minority down to minority of one person And it's very hard to to to create political subgroups However small that really taking into account every individual's true thoughts or interests, right? So we're not talking about utopia here. We're talking about We're talking about trying to improve things. You know one interesting point Just to on this Mises makes a Response to those people who always bring up Switzerland as a counter example where they're Germans Italians and French and They say well look here's a multicultural state. He says well, no, they're separated into cantons And in fact he makes a statement that if indeed there was Internal migration where you had a substantial minority of let's say French in a German canton Then you would have he said that the peace of Switzerland would long ago have vanished right, right well, it's interesting it is that Mises really speaking here more as a political theorist and a Sociologist not an economist per se, but he said, you know, we can see that there are values above and beyond Just greater productivity in the workforce or greater efficiency That could argue against mass migration of people across borders So he was he was willing to acknowledge a cultural component because as libertarians were often viewed as you know We'd sell our grandmothers for another point of GDP, right, but but Mises Didn't see things that way. No, he didn't he even said that and it's in a completely free world Where we didn't have let's say a government intervening in any way People's cultural affinities their their desire to be near their families and speak and people who speak their language Would not equalize wages throughout the world would not bring about the maximum human productivity So why should we aim at that as a policy? That's what I would call Economistic trying to make policy based on some maximizing something or optimizing something Which unfortunately is a characteristic of the Chicago School of Economics, but not the Austrian school Well, whenever we're talking about Mises on any subject, especially outside of economics I always like to point out to people that he's obviously authoritative someone we should listen to he's not necessarily just positive or infallible What what can we take from all this in other words in in libertarian Debate these days there tends to be this idea that you're either open borders or You're some sort of status closed borders person who wants a vast federal apparatus and checkpoints and guys with guns at the border stopping You know impoverished Mexicans from entering the United States or poor Syrian refugees or whatever And of course that those aren't the two choices in other words We were argue for some kind of market borders and and we're a long way from a private property society where it really was up to Property owners alone. I've always found it a bit fast. I want people say well You have no interest in controlling any property other than that what you just what you particularly own in your town And then Rothbard later in life came to see that the individual And and the state were not the only two units of analysis When it comes to this so talk about how what you see as a libertarian position on Borders and immigration today. Yeah, I I think it's Mises his work is extremely important here. So overriding importance Mises does not see Does not give a solution To immigration. He says the best that we can do is is to allow state borders to be changed as as people's and nations move But but he does it doesn't come out and set on any sort of program for that But what he he does do is is to show us that Immigration is always a political problem as long as there is a state There's going to be a problem no matter how small the units you get as you pointed out before There's there may very well be minorities that are oppressed. So we have to start from that premise I mean that that's a positive insight meaning that it's you know, he's not make any value judge me saying the nations exist Unfortunately Majorities oppressed minorities. So let's start from there and see how we can have a peaceful world. So you can You can Registrating Mises you can reject the open border position. I mean that you know, they're giving They're giving a solution and a very radical solution without even knowing really the problems So I think this is a debate starter not a means is not debate enter But a debate starter, but it does narrow the debate It does push out sort of the completely closed border types as well as the open border types They're there there are people that have not examined the problem and have no insight into it at all So I think we have to start all over again as libertarians to think about this This is a world of states and of nations and there are two different things Well, ladies and gentlemen, if you're interested in this issue of nationalism and immigration You know from the open borders perspective, Jacob Hornberger is writing a lot about this and of course our own Walter Block Yes is writing a lot about this You know, hoppa has written quite a bit about a private property society and now we've got Salerno Channeling Mises and and writing about this as well. It's a fascinating topic Again, we will post the link to Joe's article called Mises on nationalism the right of self-determination the problem of immigration From my perspective one of the most important articles of the year and and I think that it's something that we owe it to ourselves to delve into I think that Trump's election has caused a lot of bad feelings a lot of ill will and a lot of superficial thinking on the part of people on both the left and right and I think It's time for us to get beyond this and I really think that the best solution in it in a in a failed world Is this principle of subsidiarity and it amazes me with Trump and power why the left in particular? Continues to resist this when we could all get to a place where we're perhaps not self-governed But governed in a manner that's that's more amenable to our worldview and and that's really Something that I think we as libertarians ought ought to be to be working towards which is Subsidiarity and and secession and nullification and if you're never Trump You should be Yes, well Joe Salerno, thanks so much for your time a great article a fascinating conversation and the debate's not going to go away anytime soon No, you're right. Thank you