In this video on measurement and precision, we're going to start by doing a little exercise of something you're probably already familiar with from elementary school. We're going to take the measurement of something, measurement of a length of something. So over here to the side, I have a something that I'm measuring represented by this pink section here, and I have a scale that we're going to measure with. We're going to look carefully at that scale. Let me hold it down there. And I want you to do the best that you can to estimate a measurement value for the length of this pink piece, assuming of course that extends off of the edge down to zero and it's lined up with zero. How long is this pink piece of material? Now if you're familiar with this system, you should know that between the five and the six, we have divisions. And based on how old this system is, one of the things about measuring lengths is the only way that it's easy to divide a length is to take it and fold it in half. And that makes it very easy to find the center, and then we can fold that in half and fold that in half and fold that in half. Dividing things into equal units, other equal units like in the thirds or fifths or tenths is actually harder to do without doing some sort of more advanced mathematical calculations. So in this particular case, we have a system, and this is part of the US customary system. Usually this would be measurement of inches where we divide in units of two. So if we look carefully here, we have there's my half, and then between the halves we have quarters. So this would be one quarter and three quarters. And then we have eights and sixteenths and thirty seconds. And if I look carefully here, it looks like the line that's closest to my edge here is going to be the fifteen thirty seconds. So this might be recorded as five and fifteen thirty seconds. Now, this system is very common, and your grandparents or other ancestors may very often have used five and fifteen thirty seconds as a measurement and would be able to very quickly add the fractions together if they had something that was five and fifteen thirty seconds and they wanted to add something that was seven and three-eighths. They could do that math very quickly. We have since moved a little bit away from using this system, but this is typically how you will see things measured on an inch measurement tape. The main thing about this system is the precision of the system is often based on trying to make an estimate as close as possible to that nearest line. Whatever line is nearest, if you happen to be between two lines, you pick the one that's closest to. Now, we have a very different system that we use for measurement when we are measuring in the metric system or the system international. We're going to take a look at that now. Now, let's consider doing a measurement using the metric system. Now, the differences in the metric system, as you can immediately see by looking at the scale here, is that these lines, instead of dividing things in halves and quarters and eighths and sixteenths, etc., there are actually increments, one, two, three, four, five, six, seven, eight, nine, ten. There are decimal increments in here, which makes it very different in how we go about reading it. I'd like you to go ahead and take a moment to see if you can make an estimate for, we'll zoom in here, for how long this particular piece of pink material, assuming again that it's lined up with zero on the other end, how long is this particular piece of material? Measure it, assuming it's zooming in on this scale, and notice there are units of this scale that say centimeters, although they may not look like centimeters on your screen or even in front of me because of the scaling of the system. But anyway, make an estimate. Give me a number. So I'm going to make a guess for the number that you read here. Let me write down the number that you probably wrote. 49.6 centimeters. Okay? It makes sense. Let's take a good look at here. Between 49 and 50, we know that that line there, that slightly longer line, is 0.5. And this line that's next to it is 0.66, so that's 49.6 centimeters. However, as an engineering instructor, I am unhappy with that answer. And here's why. One of the things that we want to do when we write down a measurement is we need to communicate not just the value, but we also communicate the precision with which we measured that value. And what you're communicating here with the number you wrote is you're communicating a certain level of precision. How carefully did you measure that length? However, most engineers, when they see something like this and see 49.6, they picture something very different from what we see here. What they picture is something like this. They picture that that's what you saw, that you saw the 49, that you saw the 50, and that you estimated this piece here as 0.6. Generally, the rule that we want to communicate when we measure is to measure with as much precision as possible, as carefully as possible, and communicate everything we see. We see the 49, we see the 0.6, but then we also will communicate what I like to call a fuzzy digit. What do I mean by fuzzy? Kind of like it's a little blurred. You don't really know exactly what it is. There's a second estimate that says, I can't do any better than this, but I'm going to make a last guess. So here, if we look carefully, and we'll zoom in again, if I look very carefully at that, I can see that it's at the 0.6, but I might estimate that it's a little bit past the 6. Who knows? It's not enough. I can't tell if it's a tenth pass, maybe it's two tenths past, maybe it's right on the zero, maybe I like that. That last thing I write, it almost doesn't matter what I write. I make my best estimate, so I could write 46.2. 49.62. That's what I'm going to record. What that tells anybody who later reads that measurement is, you see the 49, you saw the 0.6, and you made your best estimate at that 2. And I'll put a couple of little lines in there for 49.62, just right now to demonstrate that's what I call, again, my fuzzy digit. Notice I could have written anything in there. 49.62 and 49.61 communicate the exact same thing, because any engineer who looks at that should say that last one was just an estimate. I could put down 49.60 and communicate, again, the same thing. There is a little of a problem with that, though, with putting down that zero at the end. First of all, there's some rules that get forgotten, oftentimes, where that zero, if you record that zero, people might forget that that one is important. Specifically, if you type this into a spreadsheet, for example, the spreadsheet might just eliminate it, thinking that it's not important. And it kind of is. So I actually like to get out of the habit that if I measure with enough precision, and I know that that last one is imprecise, then I will put it, I will never put it as zero. I will often put it as 1 or 0.59 if I think it's just a little bit less. And I won't record that zero. If I'm confident that it's at zero to another decimal place, then I would write 0.601 or 6001, communicating what level I have. Now, officially 0.600 should communicate that, but in practice, those extra zeros often get lost, and so I like to not ever put that last digit being a zero. Okay, so let's practice. Here's another example. Take a look at this length measurement and give me a number value that you think is appropriate. So looking at it carefully, I look there, I see 84 and 85, so I'm going to record 84, and then it looks like we've gone past the 0.5. And now notice in this case, I would be looking and saying, oh, it's pretty obvious that's between the 0.5 and the 0.6. So I can estimate 84.5. Now somewhere between, how close is in between? Well, maybe it's a little more than half, so I could put 84.56. But notice that last one doesn't matter as long as I'm close. It could be 0.55, 0.56, 0.57, somewhere in that range. And so there again is my fuzzy digit where it doesn't really matter. In fact, if I wanted to, I could put 0.5 scribble. And it would contain almost the same amount of information, although the fact that if I put in a 6, I know it's in the upper half of the 0.5 as opposed to the lower half. So I probably want to go with 0.56 or 0.57. One other way you know whether or not you're doing this right is you could ask yourself, would I be okay just writing 84.5 here? Well, I can see it's pretty obvious that it's more than the 84.5. There's still a half in there. And if you would want to capture that half, then you should go ahead and try to capture it even if it was right on 84.5. If it was moved half a unit from what you can see and you would want to record that half, then you should record that precision with a fuzzy digit. So this is a habit I would like you to get into. If you are measuring any length or anything using a digital scale, what you can do is capture that last level of precision Why do you need to do this? Well, as we'll see a little later on, when you start working with these numbers you're going to communicate but you're going to be multiplying numbers together and you've probably heard of rules and we'll see in a later video some discussions about significant figures. Well, you start losing some of the ability to keep significant figures and so one of our goals is whenever we measure we want to get and communicate as much precision as possible because we can always round or reduce our precision and in some cases we'll have to but we can't go back and add precision later. So when you measure, what you see plus what you guess.


Welcome to capacity Middle East extra powered by JSA that is us I'm Dean Perine at JSA, and we are coming to you live from the luxurious Grand Hyatt Dubai, and I am sitting here with miss Esther Garthus that I get the last name correctly Esther is the CEO at ISLA link as they're welcome welcome to the the program today. We appreciate your being here Oh, thank you. Thank you. That's an opportunity for us to be here and I appreciate that you you have us today You bet you bet so for our viewers that don't already know why don't you tell us a little bit about ISLA link? Yes, sure. ISLA link is a company that it was incorporated 20 years ago Okay, so we have operations in Spain We started by building the connectivity from the Balearic Island to mainland Spain And then the Canary Island and Morocco and Few other cables like we started in the design like a link that connecting a lesson with the Brazil So what we do is we're basically a new show infrastructure company so we provide services for other carriers to To make able to build their their businesses So I understand that you had a very recent launch to some some some pretty big news You were excited about that because we're just about RFS for our Ionian system This is a system that will connect Milan to Athens So we've built a new brand submarine cable between Crotone. This is the Calabria south part of Italy to Preveza and There it wasn't part of Greece mm-hmm, so and and then we have two Teresa rings one in Italy and Another one in in Greece connecting to Salane gay and Athens. So this is a brand new the news So I love it. I love it. Congratulations. Thank you very much So, um, maybe maybe let's let's I'm just we're not even gonna care too much about the script What I'd like to know is if you take out your crystal ball and predict the future for us What does the future for the industry look like to you? Okay? we've been we really believe that that is a business model that that can be very successful like us which Consistent to providing an aggregate demand and build infrastructure and provide the highest quality service possible So this been worked for us for 20 years and we believe that this this is Going to be working for for a longer term and we have a vision with this Because we we saw the region with a lot of potential mm-hmm, and they were lacking of investment infrastructure because the former situation in the country But we believe that this is a high potential Region because they geographically they can be Data half for the future. Yeah, so that's why we invested in the region and On top of providing services to local gris Carriers that are bringing their traffic to flap We believe that this could be an alternative route On the fastest route for bringing traffic from east to west so for some other operators that are here Middle East it could be a new route To to provide the connectivity. I love it I love so let's talk a little bit about the event. It hasn't been a good event for you Yeah, it's been great very busy, but that's what we like to be of course Of course, and so what kind of travel?  We live in tomorrow tomorrow early in the morning. Yes coming back here to Spain. Yes, it will save safe travels to you We appreciate your being here. Thank you. Thank you very much. Thank you. You bet you bet and thank you viewers for watching We'll see you soon


I'd like to welcome you to this webinar on the special issue of research in learning technology, the Arts and Science of Learning Design. So I'd like to welcome Youshae Moore, who's joined by five authors from the special issue, to talk about the papers. So I'd like to ask Youshae to kick off, what is learning design and why is it important? Hi, thank you Caroline, thanks everyone for joining us and thanks the authors and thanks whoever is watching us. I'd like to prepare the presentation, so I'd like to use that. So I just hope you can see the presentation. As Caroline mentioned, this is a webinar based on the southern special issue of research in learning technology, which was recently published, and that special issue had nine papers in it, but over all 22 authors involved. And the first question that's asked me is what is learning design, what is important? Here I'll use the definition from a previous paper, which is a learning design devising new practices, plans of activity, resources, tools aimed at achieving particular educational aims in a given situation. Now you might say, well, isn't that what we call teaching? But yes, it is teaching, but a lot, phenomenally the practice of education is invisible, what we do in the classroom, how we teach is kind of invisible, it sort of stays in there and then. And the design knowledge of how we plan for teaching, how we create resources, how we create learning experiences is predominantly passive. Educators mainly work by themselves, and it's very hard to share that passive knowledge between educators. So we argued that in terms of learning design, the idea about learning design is really about sharing critiquing, remixing that design knowledge. And we said that the sort of the three kind of theme or kind of the grand challenge is, we would say, language practice and tools, the practice in terms of epistemic practices, how we learn at political practices, how we teach and design practices, how we report whether teaching and learning. Language in terms of how do we represent those practices, particularly graphically, computationally, and how we talk about design, how we represent our design knowledge and share it, how we connect it to other fields. And tools would allow us to author, manipulate, share, improve, remix, implement all those. So the special issue was really based around the themes that the papers have referred to the themes. And maybe now it's, maybe we can kind of have a quick introduction of the co-authors who are presented here, and maybe we'll let them talk a bit about their papers. So maybe, Elizabeth, maybe you just want to start by presenting yourself and then we'll move on to the next topic. Well, again, I said perhaps we can have a quick round of introductions and then we'll discuss the papers. So I'll just suggest that Helen, maybe you want to present yourself and say a few words about the paper and if you have any special issues. Okay. Thanks, Yashie. Yes, I'll go first. I'm Helen Warnsley from Staffordshire University, and I contributed to the Rashima and the Warn. So I had a look at using the template that I've been working on here as part of the best practice models project over the last few years, and looked at one particular lesson. So I think that's maybe all I want to just say at the moment, I think. But I think we're coming on to the game for a short while. Thank you. Valerie, do you want to introduce yourself now? Hi. I'm Valerie Emma from Institut Français d'Education in Lyon, France, and I present in this special issue our editing tool called ZenEdit, and I will talk with Michael and Luis about the Rashima tool. Thanks. Thank you. Liz, do you want to present yourself? Hi. I'm Liz Mastermann from Oxford. I worked on the Learning Designer Project with Diana Laurelard and a cast of thousands. I'll be talking about a paper which Brock Kraft and I co-wrote on representations, but we also contributed to the Learning Design Rashima tool paper. Thank you. Luis Pablo? Yeah. Hi. My name is Luis Pablo Prieto. I'm from the University of Valladolid, and in this special issue, I have worked along with nine other authors, some of which have already spoken here, about the Learning Design Rashima tool, which is a paper that tries to compare and see how different Learning Design tools look at the activity of Learning Design at a concrete learning center. I will talk more about that later. Thank you. Michael? Yeah. Hi, everyone. I'm Michael Dantl from RWTH Aachen University in Germany. I have contributed to the Rashima on two paper under the superb guidance of Luis Pablo, tried to build a Learning Design of the given sequence using a tool called OpenGLM, and I will briefly talk about this later. Welcome. Thank you. So yeah, somebody asked that we share the link again. So I'm just showing it on the screen now. That's the link to the special issue itself and the QR code I will put in the update. But what I'd like to also now quickly talk a bit about the history of how this special issue came to be. So it all started with the Learning Design Group, which was a stellar network of excellent theme team on Learning Design. That's a group that worked together for a year, producing a set of resources on Learning Design, and we also ran a series of workshops. One of these workshops was the ASLD workshop, the Art and Science of Learning Design, which was run in October 2011 at the London Knowledge Lab, and we had around 30 contributions. We had very intense discussions over a period of two days. And when we thought about where do we want to take this next, one of the ideas that came up was to publish a special issue, and so we had a call, we agreed with research and learning technology on the call for a special issue. One of the, I think, points in favour of research in learning technology, among other things was their open access policy, so we're very happy to know that our papers will be accessible freely to the world. And like I said, we had a call which resulted in nine papers. So some of these papers are directly derived from contributions to the workshop, such as Susan McKinney's paper, which is an improved and enhanced version of her contribution to the workshop. Some of these papers were sort of reflection these actions after the workshop. So, for instance, Dimitri Addis and Goodyear papers would be in that category. And some of them are actually the result of work that we did post-workup, so mainly the two Rashomon papers. The idea came out towards the end of the workshop because one thing that we discuss a lot is the various representations and tools which we use in learning design, and we thought as a way of sort of just the positioning, comparing and really demonstrating the breadth of possibilities in this area would be to take a certain learning activity and follow it through a variety of tools and representation. We originally thought we would have one Rashomon paper, but in the end that project kind of expanded to a greater, you know, to such a size, a scope that we decided to split it into two papers. So what you see in the special issue, actually maybe I'll see if I can share the – so here you can see – I don't know how magical this is, but this is the actual special issue itself. And you can see, as I said, the first papers is an editorial trying to reflect on what is learning design, drawing on other traditions of design and conceptualizations of design and highlighting these three themes of grand challenge of learning design. McKinney's paper is sort of a theoretical framework for learning design, then Paul's in the first book gives a kind of overview of different approaches and so on. So I think maybe what we should do now just because, you know, we have limited time is perhaps let the other speakers present their papers and then we can have an open discussion around this. So Helen, perhaps you want to start with just a presentation of your paper? Yes, sorry, I was just trying to check that my microphone is working there. It's a pity that none of the other presenters, none of the other authors of this paper are able to be present today. So that's quite a shame, it's quite difficult to talk about the whole paper just on the video. But essentially the work is five, I'll just get a bit of this, so I'll have the five tools that we used to represent in the healthy eating scenario, so essentially there were the five different approaches, the four SPPI's, model the forties, the e-design tablet and the design principles, database and the design narrative. What was interesting doing this was certainly for me the challenge which was to use my own tool on this lesson and I think that looking at both the papers I think that that is certainly something that all of the authors have found a real challenge because the lesson was not based on a whole online environment, it was all to face-to-face activity and it had some unique features, so I think everybody found it a real challenge to express the learning design. But that in itself was part of the interest of this challenge to explore the learning design tool. So the actual paper, the Rashomon here had I think two main or three main types of approaches, so the four SPPI forties were really tools that enabled a teacher to express their learning design. But the e-design template, the design contributed and the design principles database was slightly different in that they emphasised the use of design principles and this I think is something looking, interesting looking at some of the others, seems to be a challenge or a tension here between a tool that allows a teacher to express what they're already doing or what they've already planned to do and to share it maybe or learning design tools that actually challenge the teacher to create something new, something innovative or something that follows a pedigree that they weren't originally intending. So I certainly see that as an interesting challenge for a tool and you may well need several tools and I think that that's where the discussion here boils down to a lot of it is about the challenge for the variety of different tools and what tools might be useful at different stages of the process, the design process and what tools might be useful for different purposes and I think quite a lot of our discussion now can move on to which tools are appropriate at which stage or for what purposes rather than each tool trying to do everything and which I think is certainly a possible challenge. Okay, so I'm not sure if I can see any questions or comments or not. I'm just trying. Well I'm looking at the questions and at the Q&A panel at the moment. I don't see any questions specifically yet but perhaps when we proceed with the discussion there will be some questions coming back to that paper. Liz do you want to present your paper? As you said you participated in two papers but the learning designer one was I think quite different because it focuses on one tool and on the philosophy behind it. Yes. Yeshe are you going to show the slides for me? Yes. Right, so the first one I need to see that's it. Okay and I'll just say next slide please when it's time to move on. Well thank you very much and good afternoon everybody. In this paper Brock my co-author and I focused on the grand challenge of language or representation but it is of course inseparable from the other challenges as our research project was designing representations to help teachers to model their practice in a digital tool, the learning designer. The project itself was actually led by Diana Lorelar to the Institute of Education and was a collaboration of six universities. So could I have the next screen please? Yeshe, thank you. This is just a very quick screenshot of the learning designer. It was a big and complex tool so I'm just going to show a very very tiny part of it. So he created this tool in order to help teachers develop their practice within a knowledge building community of educators. So it doesn't only support tasks in the design process such as specifying learning outcomes, activities and resources. It also provides an environment in which teachers can manipulate representations containing these elements. They can model the kinds of learning that their students might experience when the learning design is implemented in learning session and they can explore how changes in the learning activity and all the use of digital technology could affect that learning experience. And when they're happy with their design, they can implement it with their students as a learning session and also share the representation with other teachers. So next slide please, Yeshe. Now in their introduction to the supplement, Yeshe and Brock pose these two big questions in relation to representations, how to define the key concepts and how to present them to practitioners. In our paper we tried to suggest through demonstration that designers of tools like the learning designer can maximize their chances of successfully addressing these questions if they apply principles and guidelines derived from theory when they're designing the representations. And the framework we use is called epistemic efficacy, rather hard to pronounce. It brings together five dimensions of design with the goal of representation to accommodate the concepts of learning design and the relationships between them. The task of design, that's what teachers do when they do the design, reasoning and problem solving, so that's the cognitive or mental operations involved in design and the characteristics or the individual idiosyncrasies of users and all in a tool that's easy to learn and use. I think that bottom point has got missed off the bottom of the slide. So I'm just going to touch very briefly on the first three of these. So coming next slide, thank you. So this is a conventional lesson plan in a tabular format and it shows most a lot of the concepts, outcomes, activities, resources and timings, but the only relationship between those concepts that can be easily expressed is a chronological order in which activities take place and also the heights of the rows representing the learning activities are determined by the cell containing the largest number of text lines on each row, so you can't easily work out from that or make inferences about the relative proportions of the lessons spent doing different activities. Next slide please, because now we're going to look at the learning designers timeline of learning activities. You can now see the relative length of the different activities, so that particular mental operation should be slightly easier. The learning designers added some new concepts which you can see in the coloured bars in each learning activity and they show the relative proportions of the different types of activity, the cognitive activity in which the students will engage when they're doing their learning, so there's acquisition which is reading, listening or watching, there's great discussion, practice and production, and as you can see a lot of the activities involve discussion in this design. And these concepts have been added to make it possible to model the students' likely learning experience. So in terms of epithemic efficacy, the learning designers timeline has added both to the ontology of the content of learning design, the domain and to the task. It's also used in a timeline in a special way which has implications, but you can read those in the paper. Although the teacher can sort of see what proportions of learning are made up in taking the different cognitive activities in individual activities, you can't really work out very or see very clearly how that adds up to the total lesson. So on the next slide, please, the teacher can switch to the analysis view and here the cognitive activities have been combined into a single pie chart for the whole lesson using the same colour coding. And this is an example of what's called re-representation, showing the same data in another format in order to facilitate a different mental operation. So let's just quickly see the modelling functionality at work. Next slide, please, Yusie. So suppose the teacher decides to see what happens if she asks the students to work individually rather than in groups and to write an essay for homework. What happens was that the cognitive activity discussion has been much reduced and there's a bigger element of practice and production. And what's important is that neither of these two models is right or wrong. So what the student is doing is to help the teacher see in advance how variations in learning activities could alter students' likely learning experience and it's likely, it's not predicting, it's only suggesting. So they can fine-tune their design on the timeline and check the outcomes in the analysis view until they're getting quite close to what sort of learning experience they want their students to have. And we analyse the evaluation data using the same framework and you can read about it in the paper. But the main point I want to make here is that it accepts new representations and new activities into the task of designing for learning. And these entail additional cognitive effort on the teacher's part. But we found that this can be acceptable to teachers provided the tool offers them something in return. Learning designer does this by offering insights into students' possible learning experience that enable the teacher to review and refine their design. And this notion of repayment for additional effort applies also to the intended role of a learning designer in supporting knowledge-building among the teaching community. Because a teacher contemplating reusing a particular learning design needs to have sufficient information about the pedagogic intention underlying that design to be able to make an informed decision about its usefulness. And this requires the person who is sharing the design to make explicit some aspects of their practice that are normally tacit and they may be more motivated to do so if they too can benefit. And I'll leave it there. Thank you very much. And I think we'll just, again, move ahead in quick order to the next paper. Well, today the last paper we'll share today. And we have three offers from that paper, right? So Michael, I think you guys will share your own presentation, right? So I'll switch over to you. Sorry, I thought that we were actually going to use UCA's slides at the end, but I will try to open them now. My computer just died on me a few minutes ago. Okay. Okay, well, you can start with my slides while this probably tries tomorrow. Okay, yeah, probably that works better. Okay. So just a little bit of time. Okay, so what we did here in this learning design Rashomon 2 paper, which is actually quite similar to what Helen already talked about about the Rashomon 1. In their case, they were looking at conceptual tools for learning design, conceptual approaches on how to do this learning design activity. And we kind of wanted to do the same thing for the technological tools that are out there and that are being developed right now for supporting learning designers. So our goal mainly was to aid researchers and practitioners in choosing the tool that best fits their goals because actually it's quite difficult to keep up with the different tools and different approaches that are being produced each day by different research teams and so on. So we wanted to give a wide overview of what's out there right now, what's being developed and what we wanted to have as a wide variety of tools, different approaches, different kind of levels of reality and so on. So what we did is we tried to model this same healthy eating scenario that was also used in the Rashomon 1 paper and we asked each team that did the development or the proposition of each tool, we asked them to model the scenario and try to come up with what were the difficulties and we tried to analyze what were the differences, the commonalities of the different models that were the output of this modeling of this scenario. So if you go to the next slide, thank you. I have my slides open. I don't know if everybody can see the whole page. I think at least I can't. So I think I can try to switch to my screen now. Just one second. Okay, so I hope you can right now see my screen. So the five tools that we used in this paper were basically the learning designer about which Liz has already done a proof. A minutes ago. Then we have the CADMOS tool which was actually a little bit more technically oriented for teachers that maybe are not experts in learning design but do have some knowledge of technology and they want to design courseware for online courses and also put those courses or those designs into a learning platform like for example Moodle. Then we have also Web Collage which is another tool for teachers that is more focused on a specific pedagogy and collaborative learning activities. So it helps teachers who may not be experts in learning design or learning collaboratively and collaborative learning, sorry. It proposes them to do this learning design through what they call patterns which are like strategies that have worked in collaborative learning, like the tips or strategy, peer review, brainstorming and so on and use that as the building blocks for doing the design. Then we have also the ZenEdit tool which was done actually by the team of Valerie and maybe Valerie can now say a few words about their tool because probably she'll do that much better than me. Yes, thank you. So ZenEdit is for teachers as designers to design blended learning situations and scenarios and as Web Collage, the design can be done through patterns and the main emphasis of this model and tool is on the intentions that the designer wants to achieve through strategies. Okay, thanks Valerie. So that was the fourth tool and the fifth tool was the OpenGLM tool and since we have here also Michael who is one of the main proponents of the tool, I think I'll let him do the talking and go a bit deeper into what's OpenGLM so that people can see another quite different approach to the ones that we have seen so far, different approach to learning design. So that's up to you, Michael. Yeah, thanks Luis Pablo. I will just try to put on my slides and I try to arrange them on the screen nicely, hopefully. Yeah, so the OpenGLM is a visual modeling tool for learning design, actually for IMS learning design. It is one of many in that respect but it has some features I think that set it apart from others. It was started actually many years ago in an FP6 project and built on the reload tool which was built somewhere in Bolton in the UK and via several EU projects it got connected to different repositories, got integrated with design pattern approaches and other things. So this is probably one explanation that the user interface has become quite populated by now. You can see it on the slides. This is the representation of this healthy eating scenario, at least part of it. Actually it was a bit of a longer sequence but here you see one cutout. You have different roles who are performing activities and one challenge I think in all of these tools was to represent how the different people, the different roles are interacting in this scenario. And in OpenGLM this is done by attaching roles to activities and if you want to get a broader overview of visual learning design tools that allow the orchestration of activities based on similar approaches and visual approaches I may point you to the other paper by Katsamani and Mary Katsamani and Simo's Retalis also in this supplement which is called just looking at orchestrating learning activities using CUTMOS which is the tool developed by Simo's Retalis and his group but actually they're also comparing it with other tools based on different perspectives. Anyway, when you model such a scenario that is described in textual form you run into several difficulties and these difficulties vary by type and intensity across different tools. For example, the difficulties I ran into here was that the scenario we had was not a pure online or computer managed scenario. Actually it was a mix of face-to-face and virtual activities which is very hard to represent using such an IMSLD authoring tool. So we cannot represent physical artefacts from the real world. The kids were pinning photographs on pin boards and similar stuff so what I had to do is come up with a way of representing this in a virtual space which of course moves away from the original scenario and kind of creates a variant, a new one. There are other issues of course for non-IMSLD experts or non-learning design experts for example related to terminology so you can see a lot of terms like roles, activities, add-ons, environments and similar terms in the user interfaces and people who are not familiar with those terms will have a lot of trouble using those tools also. So that was it. One example from the OpenGLM perspective I think we can move on with more findings which Pablo will present from the study. Okay, thanks Michael. So I hope you can now see my slides. I don't know why they are kind of flashing but I'll try to be brief so that your eyes do not pop out of their sockets. So basically we end the paper after following this kind of same approach of representing the scenario in the five different tools we wrap up with a discussion of comparing what were the different perspectives and what we learned by doing these five different representations so we found different sorts of things and there's more detail about that in the paper but we found different tools that were aimed surprisingly to different audiences so depending on who you are you might find more interesting one tool or the other also different tools have different pedagogical specialties like some are more aimed to collaborative learning some more for online learning or blended learning and so on. Also as it has been mentioned by Michael already there were difficulties in generally modeling physical resources resources that are not virtual, not in the web and so on and that stems from the fact that many of these tools were originally thought as tools for modeling online courses so if you want to do courses that are not online you're going to have a little bit of difficulty with some things and also that different ways different tools are coming up with different ways of going farther or beyond the design and into the implementation of the, for example, the technologies that are implicated in this design. For example, in some cases we have to do that manually or either by the teacher or by some technical stuff that supports the teacher in implementing this design idea that has been modeled others do it via IMSLD standards and platforms compatible with this standard and others can do it via the systems like loops which try to draw bridges between these heterogeneity of learning tools that exist out there and the different learning platforms that are being widely used today like Moodle or Blackboard and so on. So in the end we kind of conclude that there is and this is interesting because it's a bit of the same thing that the Rashomon 1 paper found out that there is no silver bullet, no tool that does everything for everyone, but we rather have an ecosystem of tools that may be useful for different purposes for different people and for different moments in the learning design process. So going into this idea of the ecosystem of tools maybe Michael is going to introduce what some of the authors of the Rashomon paper have been up to in the latest year trying to put some of these ideas into practice. Yeah, thanks Luis Pablo. I was just trying to share again my screen there you can see, I hope you can see my browser window which shows the homepage of a recently or it was started one year ago a project called Metis. It is founded by the European Commission in the lifelong learning program and some of the presenters here are involved. Actually Luis Pablo's institution is coordinating the project, Giannis Dimitriades. The idea there is to support these co-design activities in different educational contexts using different kinds of tools and different kinds of implementation possibilities and what we have there is the concept called Integrated Learning Design Environment. I will go there briefly. If you go to ILDE, UPF, edu you will find a platform that as you can see or could briefly see at the bottom integrates different learning design and conceptualization tools to allow people to create representations to plan their teaching activities and in the end via Cloupiers, Luis Pablo has mentioned briefly to deploy those designs to different runtime environments, for example, to Moodle or Google Docs or other environments that you can think of or whether an adapter exists to ILDE. So, please go to the Metis website and subscribe to the news feed and also you are invited, of course, to join the ILDE where you can or will be able to see new stuff generated by the people that are also published in this ALT supplement. Yeah, and I think Valérie maybe wants to add a line or two on Senedit as I see it on the slides. I just mentioned that Senedit will be available on the new version of Cloudline LMS platform. The first integration as we made is in this new version and in the release in next September there will be a complete integration of how is this model inside Cloudline LMS. Thank you, Valérie. I know this is a bit unplanned but if you can quickly allow Senedit in your browser and just give people a quick impression of what it looks like because we've seen two other tools so maybe it's an opportunity to give people an impression of a third learning design tool. While we're waiting for that just I'm quickly noting there is a question in the Q&A. Am I right in thinking that this is a pedagogical planning tool rather than an authoring tool for interactive online environments? I think there is perhaps some unclarity here about what is a learning design tool what's the relationship between a learning design tool and a tool that's used to actually run or enact learning activities. Liz, Michael, Luis, Pablo do you want to comment on this? Shall I start because it was asked while I was doing my presentation. It is true that the learning designer is more of a pedagogical planning tool than one for authoring activities. I think if we thought or there has been a proposal that the learning design cycle has got four different cycles the planning or design setting up the learning environment and running with students and the reflection afterwards and tools will support different aspects of this and the learning designer at its present incarnation is just purely for the actual planning side of things. Thanks Liz. Anybody else wants Michael, Luis, Pablo maybe you want to comment on the whole learning design process and how you see the different tools in the different phases of this process. Yes, maybe it's useful that we talk a bit about discussions we have had inside this current project that we have where we have different people from different perspectives trying to get into this integrated environment and see how do we make some sense of the different tools out there and the different ways and different moments and so on but we have come up to right now and when I'm not saying it's the perfect solution but that's what we are actually trying in the trials we are doing right now it's like dividing the learning design oh thanks Yixay I was just going to do that. So it's about dividing the we have divided this whole ecosystem into three big buckets one which is the conceptualized part which is maybe more akin to what the learning designer does it's more about thinking about the activities the different it's more conceptual maybe so they are out there a number of templates approaches and basically tools that have been right now being showed by Yixay's screen you have the course map design patterns, design narratives there are many tools out there and there are many other which we have not yet integrated into this environment but we can see that there are more intended to see how we can help teachers in thinking about their learning activities then we have another level which is the authoring level which we call which is more detailed more going into what the audience was asking about and let me see the authoring tool for interactive online activities so that's more the league of web class, open GLM or the CADMOS tool which are more detailed and more intended to always doing an actual implementation in an online environment for example and then we have a third phase which is one could argue it's not actually designer it's not like the role of the designer to go into this place but that's something that eventually someone has to do which is the implementation so once the design the activities in the learning design have been more or less defined and they are detailed enough you can actually go and put those activities into our learning design a learning platform that students can actually use and the teachers can actually use in the classroom so that's what we have come up with right now is showing the one of these authoring tools and it's using some of the patterns that it has that's a brainstorming pattern if I see correctly so just to finish we kind of see these three big really rough ways of classifying the tools but this is not the only way and probably others in these kind of speakers have all their ideas also Thanks Siris Pavlo Michael do you want to add anything to that or shall we see if we have any other questions from the audience? I think which Pavlo made it quite made a quite good point I think the before during and after learning design which is the conceptualization the actual act of authoring and designing and the release in the runtime environment are if you want to break it down into three phases the ones that appear quite reasonable also from a computational perspective I mean with Pavlo and myself we are more from the technology side so we are interested in reducing the complexity of the interfaces between the phases to be able to support as many processes smoothly as possible so this is why three phases I guess make a lot of sense although it is sometimes difficult to put one tool into one specific packet but I think most of the things that we have seen here are authoring tools and some of them conceptualization tools but as I said please feel free to get an account at the ILD and you will find many ways of conceptualizing your designs there including personas course maps and other things and you will also find links to authoring tools and deployment options sorry thanks Michael so I think just quickly I'll remind you that I'm okay if you want sorry yes I was saying that I was ready to present to Senedith if you want yeah that's brilliant yes so let's see that now please so I just have to share my screen so can you see as I have no feedback can you see my screen with these pictures on the right and on the left yes we see it now okay so I've just I will start again so there is a demo website where the login is a demo Senedith but it's on the URL I've given to you when you login you can see some samples of scenarios in English there is a lot more in French version just to show you that there is lots of scenarios designed with our teachers so here you can find the Enquire LV18 scenario so I double click to open it and then you have the vision of the scenario with a graphical vision of the tree and if I click on show images you can have more or less the script of the different interactions that are used in the scenario so if I just go back to the global vision you have the intention of the teacher in this case it was to develop the enquire based learning process acquisition and the strategy which is used you can see in yellow if I reduce the situation you just see the different faces of enquire project so there were eight faces in the enquire project it was seen as a circle it means that you can go from one face to another face and start anywhere if you have a second role representation but we are working on another visualization which can be in any order and if we develop now the situation level we can see for each face for instance the first face is to find the topic of which the pupil will which is enquiry you have two interactional situations the first one is to listen to the presentation and the second one is to define what topic to study along the enquiry so if I click on this second item I can see with visual interface what are the different elements of the situation so I can see that it's in the who it's a pupil which is doing this interaction alone with some tools so you have a laptop and a website the resource it has in incoming a document and synthesis produced by the teacher and you can see here the the locations which means what are the type of classroom you need or if it can be in any in any location where is the internet connection for instance this is an example and here in the description the teacher can write down all the guidelines for this situation and he can also link this situation with the non-agitem which are supposed to be mastered during this global scenario so this is a very short tour of senedit just in easiest component you can have a library of different components here you have the components listed in this scenario the intention, the strategy and the interactional situation and in the context you can define what kind of knowledge is used so for instance for this scenario it's very short knowledge context but if you see for instance the other one you can take all the competencies capacities from certification program and integrate them in your scenario and here you have the properties of the scenario which are more textual which can inform on the duration of the scenario and the other knowledge context which can be used inside the scenario so thank you I will then share my screen if I am able to thank you very much I think that again having looking at the three different tools we've seen today gives us a sample of what readers will be exposed to if they go through the papers in this special issue but also reflects back to the question that we discussed about making educational practice and giving it textual and visual languages to represent and share that knowledge and the different representations we don't have a single canonical representation and a single ultimate tool but rather need to look at the ecosystem of different representations and different tools and we hope that this special issue captures a good sample of those just to quickly remind us that essentially we've really just touched on three out of three or four of the nine papers in this special issue so as I said Susan McKinney's paper really tries to look at learning design from the practice of learning design and the tension between researchers and experts and novices or practitioners and argues for an approach to learning design that would work within the boundaries of what is possible in practice policy and persico looks specifically at designing for computer support collaborative learning but again try to provide some taxonomy of different approaches in this field and then as I said Goodyear and Dimitriadis who are I think two of the pioneers and the most prominent figures in the field of learning design on one hand a sort of a theoretical reflection from the state of the field and propose a new approach which they call forward or re-enter the design approach and look at that specifically at the difference between design for orchestration and design for reflection another paper that was mentioned today was Testimania and Ritalis which focuses on the Cadmus tool but actually also discusses five other popular learning design tools and make some arguments about what still you know what these tools provide and what still need in terms of integration of learning design tools into common practice so I think we're actually we're close to the end of this session let's have a quick look at the Q&A and see if it might be that I'm not seeing I don't see any questions that we haven't addressed in the Q&A but if I'm missing something that perhaps Martin can help us there does anybody want to just make some final comments about the experience of writing this other supplement special issue and what you've learned from interacting with the other authors I don't know I might say just a few words I think it's interesting and it's sometimes maybe you don't find many special issues that despite the fact that the works are really different and different people's different approaches different tools but at the end especially if you look at the papers it was really nice to see that we kind of came up to the same conclusions of trying to to see or to see learning design as something that is supported by ecosystem of approaches ecosystem of tools and that there is not one single way of thinking about that and that we should try to support this kind of dialogue among the different representations and approaches and so on and try to keep whatever we propose open for interaction with the other approaches or the other perspectives but that was from just what I know this Thank you. Any other final remarks from many of the authors today? Well again I want to thank everyone for contributing to the special issue I'll just quickly share the screen which has a link for the issue and pass on to Caroline That's just to say thanks very much for joining us for the session and thanks to Yishay and the authors for a great session and the recording of this will be available on the Elk YouTube. Thanks a lot.


I love the bite that these have. You get every bit of the pick attack that you're looking for, at least for me. I love that. I love being able to hear that. These are loud enough that you can actually see the girl cloth move. So, and when I'm picking like that, I'm watching it and there's a much more prominent push on the cloth when I do that. Can I have one, please? I'm almost in disbelief by the whole thing. Wow. Wow, that second channel is, whoo, that has a lot of body to it and a lot of character. Like, I'm almost speechless on how these things are sounding. And you were talking about the reverb and you're saying about how... That's digital? No, that doesn't feel like it at all. It doesn't sound like it.


My family and I recently moved from our home to a rural part of Ohio. We all got settled in and I had a whole room to myself. The room was large in size and I could at least fit all my collect and games in there. As I was finishing up, my dad knocked on my door. He said that his bedrooms closet was full of video game material and that I'd probably find something interesting in there. I followed him to the room and I saw what to me was a glimpse of heaven, a Super Nintendo Entertainment System and some games for it just laying there collecting dust. I went through everything and found a copy of A Link to the Past, Super Punch Out, and Kirby Super Star.  It was a blank cartridge that had the word Super Mario World over where the cartridge's title art would be. I thought this would be a great game to play since I'd never played that entry in the series. So I took the Super Nintendo and the games back to my room and I connected it to the DV set. I decided to play the Super Mario World game first. I plugged the cartridge into the slot and started up the game. The title screen was where it all started. The title words didn't appear and the cutscene of the game play was different. The background was a dark, ominous shade of red and Mario's eyes were red. The copyright Nintendo 1991 was con too. I, looking for a logical answer, assumed that this was a hacked game cartridge and the previous owner left it for us as a small gag. I pressed start and began playing. Soon I saw that the over map screen was changed as well. The water was changed to a bloody red color and looked very realistic. The grass part of the map was a dry brown dollar similar to dead grass and the pathways you traveled in were gray. Still believing this was a prank, I left this off and entered Yoshi's house. When the screen faded back, I saw a horrific sight. In the ground was the corpse of Yoshi. Its nose was ripped in half and hyper realistic blood came from its blank white eyes. I was shot by this and horrified. Who did this to Yoshi? I hit the advice block and it said these markings in Yoshi's body aren't those of a Koopa. But are the humans boots and fingers? I wonder who did this? I noticed again that Mario's eyes were red which cost a lot. Ripped out by this horrid joke, I turned off the console and the TV and I went downstairs to get a smack and relax. When I came back upstairs a while later, I saw that the console was turned in again and the TV was on. In the screen was yet again another very freaky sight. Corpses of Yoshi's were laying around in front of Yoshi's house.  I was disgusted by this scene and I pressed the power button in the Super Nintendo and pulled out the cartridge.  I played a link to the past and it didn't seem hacked whatsoever, thank goodness. I looked at the clock and I saw that it lost can be him. I then turned off the console and went to bed. The next morning I got up and pressed for my first day at my new school. In the rather long bus ride to school, I looked out the window for most of the entire time. It lost still rather dark out so I couldn't really make stuff out clearly, but in the distance I saw something rather creepy and familiar. What I saw in the distance, slowly headed by the moon, was what seemed like Mario staring at me. Where its eyes would have been were glowing dark red dots. It stared at me slowly for what felt like an eternity, but then I blinked and it disappeared. In the bus ride home from school, I looked outside the window again, hoping to get a better view of this strange shadow, that is, if it even existed. But I didn't see it again. When I got home I looked at the Super Nintendo and saw to my shock that the Super Mario World cartridge was in the slot. In the screen was an advice block that had about it the name Jeff. I was confused and creeped out all at one. I took it out and I decided to ask the neighbors if they knew about it. I walked outside and I went to the neighbor's house and knocked on their door. I was greeted by a man around the age of 37 and he asked if I needed something. I asked if he knew about anything about someone named Jeff who lived in my house before. The man's eyes scream wide at the mentioning of the name. He told me that about 7 years ago there was a young boy named Jeff who lived there. He was killed by a man who once was the town plumber. I thanked him for the information he had left. I rode home and I grabbed the cartridge. I realized the connection. Jeff was killed by a plumber. Mario was a plumber. Was the boy's spirit trapped in this cartridge? I plugged it into the Super Nintendo and began playing, hoping to find out more. I returned to my save file and I found I played through a bit without anything else odd. When I reached the first ghost house, I had a feeling I'd find something here. I entered the level and the cutscene of Mario entering the ghost house played. As the door closed, I heard a bone-chilling laugh. This came as a surprise to me because I never heard of the boost sounding like that before. Once the cutscene finished, I realized there was no music and, most oddly, no boosts. I ran through the first part and I found no ghosts whatsoever. Suddenly, I saw a truly heart-stopping sight. The screen suddenly changed to a pixelated picture of a mutilated child's body. And above the photograph was the words, What are you running from? I recognized this phrase immediately. This was used in the old Game Boy Camera game, when you chose run in this one level. The screen then changed back to the game and I saw behind Mario another dead Yoshi. Its head was bent at an odd angle and blood came from its open mouth. I noticed that near the bottom part of Mario's hands were red. His eyes were also that blood-red color again. Mario then turned to face the screen. His horrid eye staring into mine. A text box appeared below him and the words your next appeared. The game lost talking to me. I got to freaked out and I pressed the power button in the console, but the game still played in the screen. The words be prepared appeared under the previous words. Scared out of my wits, I took the cartridge out of the slot. If the evidence that Jeff was killed by a former plumber, it definitely was now. I placed the cartridge in a drawer in my room and locked it tightly. I slid the key into my pocket and I went downstairs for dinner. When I returned upstairs, I was happy to see that the cartridge wasn't in the Super Nintendo. I decided to relax and play some more A-Link to the past until 10. I didn't touch that game for a whole week. I couldn't stand to play it and relieve those horrid visuals. But every morning in the bus ride I kept seeing that horrible shadow staring at me with its evil red eyes point. After a while, I found myself looking back at the locked box with the game inside. I eventually swallowed my fear and took out the game. I plugged it back into the slot, knowing I'm going to regret this, and turned in the console. I skipped to the file selection screen and I clicked the save file and began playing. I appeared at the first level starting point, which was odd, since you couldn't start a level without reaching the map. I ran ahead and saw an advice block ahead. Preparing for the worst, I jumped up and hit the advice block. The black text box appeared above the block and to my horror, the words said you shall soon know true horror. See you soon. I exited the advice block and I saw Mario laying on the ground, his head caved in and blood coming from his skull.  I locked it in its box and I sat on my bed, shocked at what I just saw. Later that night, before I went to bed, I made sure my windows were tightly locked and the blinds downed. I secured my door with its lock and I felt a bit safe afterwards. I turned in the TV and played a funny movie to calm my nerves, which usually works when I'm scared like this. I must have fallen asleep for some time, because the movie was over when I woke up. It was still night out and I could see that the door was still locked and the windows were secure. I was just about to go back to sleep when I looked at the foot of my bed and saw something that still haunts me to this very day. I thought it was just my imagination at first, something that wasn't real and couldn't do anything. But I knew that this was real. It stared at me. Its red eyes glowing in the darkness of my room. It didn't blink. Its red eyes staring into mine. I could tell it knew I was scared and I saw its mouth growling to a horrifying smile. I felt like my heart was beating out of my chest. The thing stared at me for what felt like an eternity, and then what happened next almost made me scream. The thing spoke to me.  It said, its voice sounded demonic and dark. You brought this on yourself. Suddenly, it disappeared and reappeared almost instantly, only closer now. You have nowhere to run, nowhere to hide. It kept moving closer and closer to me. I could feel my heart beating like it was about to burst.  It disappeared one last time and appeared again right above me, hanging in the air. Its eyes piercing through me, chilling me to the bone. You have only one more day. It said, its evil smile across its face. Better savor it. It then disappeared and I didn't see it reappear. I almost let out a scream of terror once it left, but I held it back. I breathed heavily, taking in everything that happened. I then got up and unlocked the box holding the cartridge. I stared at it and decided to do something I should've done ages ago. I went to our garage and found my dad's hunting shotgun. I walked out far into a field and placed the cartridge in the ground. I aimed the shotgun's barrel at the game and fired. The blast shattered the plastic cartridge into pieces. I could've sworn that right before the round hit the cartridge, I heard the sound of a boy screaming in anger. I sighed, knowing the horrible nightmare would end. I returned home and went back to bed, still creeped out but calmer than before. In the bus ride to school, I didn't see the shadow appear in the distance or anywhere.  I never saw the creature from that night ever again. I haven't told anyone about this experience until now. It lost torture to have to relieve this memory again to write this, but I felt like I should tell you all this. I still have found no more evidence about Jeff and the killer plumber, but I intend to find out eventually. Right now I just hope I'll never see that cursed creature at the foot of my bed again.


AUM is launching today its recommendation to the Bulgarian Presidency of the Council of the EU, a presidency that takes place at a time of heightened importance of migration, both in the Mediterranean and in the globe. Our first recommendation is for the EU and its member states to assume a far stronger leadership role in the negotiation of the global compact, which we hope will provide a framework of a great principle, actionable commitment and increased partnership and cooperation among member states and other stakeholders. The second recommendation is for the approval of the common European asylum system, which we hope will contain high standard of fairness and sharing of responsibility, an increased and strengthened mechanism of relocation and a union-wide framework for the resettlement of refugees. While the common European asylum system will increase the protection of asylum seekers, we also propose that the EU launches a new visa for vulnerable migrants that wouldn't fall under the 51 convention, but still will need the vulnerability needs and fundamental rights to be protected because of their current condition. Our fourth recommendation is for the right-based, non-discriminatory and comprehensive approach to return our integration policy, which we hope will contribute to improve the well-being of migrants and their community. This approach is rooted in IUM's conviction that migration is not something to be stopped or to be managed on a crisis mode approach, but a human reality that is beneficial and should be governed with political leadership, vision and a human-centered approach.