Ten, nine, eight, we have a goal for main engine start, we have main engine start, four, three, two, one, zero, and liftoff, liftoff of the space shuttle, and it has cleared the tower. Hello and welcome aboard the space shuttle endeavor, where we're orbiting almost 300 kilometers above the earth. Our primary mission on this flight was to deploy a tracking and data relay satellite, or TDRS, TDRS for short. And when it becomes operational, it will relay communications between orbiting spacecraft and tracking stations on the ground. A few days ago, we sent the satellite on its way, but deploying TDRS wasn't our only mission on this flight. Two of our crew members put on the protective EVA suits and went outside the orbiter on an important spacewalk. We also have several science experiments to conduct, but for one of our experiments, we brought along some toys. Each of these toys work because of important scientific and mathematical principles, principles that we often take for granted on the ground. The things can work differently in space than they do on earth, even toys. That's why when we're orbiting the earth, we experience something called microgravity.  If you don't understand microgravity, your teacher can help you out. But for now, we need you to help us with these experiments. We want to find out if the toys act differently in space than they do on earth. But first, we have to know how they work on earth. This is where we need your help. We want you to experiment with the same kinds of toys we have here on the shuttle. Then, when you become experts with them, try to predict how they will act in microgravity. After you've made your predictions, watch what we do with the toys and see if you are right. Remember, this is a team effort, and we're counting on you to make our experiment a success. In this scene here, I'm trying to get the rat to flip on my hand, but as you can see, what happens instead is that his legs push against my hand and he spins up and away. Now in the next scene, what I did was tape his feet to a book. Now the book is so much more massive than the rat that when the rat pushes on it with his feet, the book turns only very slowly and the rat, because he's taped, cannot jump up and away like he did with my hand. Watch what happens when the suction cup releases now. You can see the spring jumper takes off. We'll watch it again. Boy, look how fast that travels across the spaceship. It really surprised me. We'll watch it slow motion here. You can see a tumbling coming off the lockers. The question with this scene is, will the frog swim as well in air as he does in water? Well, if you watch the picture here, you'll notice that no, he does not. I try all different ways of getting that frog to swim in a straight line, but because the air is much less dense than water, I can't get him to do it. So the frog just flops around. We'll take a look at the submarine here and I'll let it go and you can see that as it turns through the air, both the propeller and the submarine turn instead of in the water where only the propeller turns. Now I'll take a look at what happens if I hold on to the propeller and you can see that the submarine turns around it. Then I'll let both go and it takes off. One more time. This time I've attached small pieces of paper on to the propeller to make the propeller larger. And we'll see what happens when we let this go. I'll move back so we can get a greater view of the line of travel. Let it go and it really takes off. We've taped a pin onto the end of the submarine propeller to see what would happen and if the submarine would change the way it moved. Well, it turns out that it did. As you can tell, it flops around quite a bit more and we had a harder time keeping it under control. Let's look at the swimming fish. Now this fish swims real well in water but watch what's happening now. He's really struggling and not getting anywhere. Just sort of floating around. It really doesn't swim very well in air. We'll try it one more time. Whoops, I think I had a little rotation and he's turning around just sort of flopping around. Not really getting anywhere. It's trying to swim through air. One of the things you can do to help the fish swim better in air is to increase the size of the fin. It also turns out that releasing the fish very gently has an impact on which direction the fish will swim. I finally got it right in this scene here and you see the fish swimming forward. Well, look at the flapping bird in microgravity and you can see what happens here. It just flies around in circles. It doesn't seem to have any direction of travel. Let's look at it again in slow motion. It just goes around, doesn't go straight as it does on the earth in one gravity and it looks like it's turning around the wings. Now just soar it without the wings flapping, soars across the middeck. I tried throwing this paper maple seed several different ways. You can see it didn't go very well when I threw it holding onto the wing. Now I held onto the bottom and threw it and it turned just a little bit. I finally got the hang of it and you can see it turning now very much the same as it does on earth. Throwing the paper boomerang and we'll see what happens. Goes into the side of the wall. If there had been more room I think the paper boomerang would have come back. Now this time I threw it and flipped it with a lot of rotation but not much forward velocity and it just keeps going straight. Boy, that thing shot up like a rocket and that caught me by surprise. I didn't expect that in this microgravity environment that it would go up that quickly. Even in slow motion it comes off and hits me in the chest even before I can react. Here I have a single graviton that's floating free in the cabin and it's spinning. You can see it wants to spin about the wheel inside as well so you see the outer case spinning also. But I'm trying to get it to tip over and I can bump it on the sides, on the top, on the bottom and I can't make it tip over. It's stable about the axis I let it go in which is the spin axis is up and down. This is the same configuration. I've got one spinning graviton here and I've oriented it so that spin axis is pointing at the camera. Again I'm just bumping it on the sides and the top and the bottom and I cannot get it to tip. It's stable about the axis I let it go in. This should be a graphic demonstration of a spinning in a non-spinning graviton. You see the spinning graviton stays stable while the other one tends to tumble and over end because it has no stable spin axis. I'll do this one more time. You can see that one is spinning and one is not and the one that's not spinning just tumbles free while the other one maintains the orientation I let it go in. Here I have two spinning gravitons and they're both stable as they spin here. I take one and bounce it off the other. You can see this time because they're both stable they don't tumble. Neither one of them tumbles as you might expect. Here I have a curious combination of two gravitons that are attached together on a wiffle ball. And I have them both spinning in the same direction. So I would think I would have thought they'd be very stable in this configuration. But because they weren't perfectly aligned with each other they got out of hand. It came apart and really gave me a surprise. Let's take a look at that in slow motion. You can see how the misalignment causes them to break apart. Now this time I took those two gravitons and I rotated them in opposite directions from each other.  So I'd expect to be able to let this go and just have it tumble. Now obviously I can't make them both spin exactly the same speed. So the one of them is going to have a little bit of stability but you can see I can bump this stack and I can make it wobble around a little bit. As I bump it here you see it will wobble some. It has some tendency for stability but not as much as a single graviton would have floating on its own. I can make it wobble pretty wide and over end. So having two of them spinning opposite directions canceled each other. Now we're getting complicated. I have three gravitons all hooked to the same wiffle ball orthogonal to each other. That is their alignment is 90 degrees to each other. And I'm going to spin them all in the same direction with reference to their attachment to the wiffle ball. Now as I do this you would expect that the angular momentum vectors of each of the gravitons would add up to a single vector which would be right between all three. So as I let this go and it tends to rotate the only axis that it will rotate around is an axis that you can see if you put a pencil between all three of the gravitons it's rotating about that axis that's equidistance from all three of them. Now as it continues to spin up by the natural character of the friction in the gravitons it eventually spins up so fast it comes apart. Well here's the same combination again. I have three gravitons mounted orthogonally to the wiffle ball and I'm going to spin them all up in the same direction. And before I spin them up you can see how they tumble and over end. There is no stability there because none of them are rotating. As I spin all three of them up initially when I let them go you'll see them begin to rotate around that same axis that's right between all three. But one of the gravitons comes off and look what happens to the remaining two. As that bottom graviton came off the remaining two gravitons now are rotating around an axis right between the two of them. And again I was lucky I didn't get beaned by this graviton as it came off toward me. Now here's an experiment that's a good demonstration of how a non-spinning graviton behaves just like a ball in the end of a string. I can change the axis of a rotation just like you could with anything attached to a string here on earth. But once I spin this graviton up look how it maintains that stability around its rotation axis. I can spin it around and around and it wants to stay in an orientation so that the spin axis is parallel to the axis of rotation that I'm holding the string in. Now look how I change the orientation and eventually the graviton ended up changing the orientation of its rotation so it matched the rotation axis of the string. Very interesting change in the way the graviton behaved. Eventually I'll take it back to a horizontal rotation so the rotation axis of the string is vertical and you'll see the graviton again orient itself so it's spin axis is vertical to match the rotation I'm making with the string. This rattleback is a very curious device here on the ground because if you rotate it on a table it'll eventually turn around and spin the opposite direction. What you're seeing here are three sequences of me spinning it around each of its axes.  Then in the last sequence I spin it around its longest axis and you just see it spins. In no case did it ever turn around and do the peculiar things it does on a table.  I experimented a little bit I tried various different actions by spinning them in one direction or the other I wound up taping the clackers so they stood apart and then I flipped them first end over end and that didn't seem to repeat the motion that I accidentally had discovered and then spinning it around along the axis of the handle I reduced the flipping motion that you see here and that was quite remarkable. As it spun around there was a little bit of imbalance and it seemed to flip end over end which was unexpected when I first took them into space. I never played with them before. I became quite proficient at using the clacker balls in this fashion. However, while I was able to get one ball to displace the other on the ground I was never able to get the clacker balls to do this in space.  In this next orientation it was a little bit easier to get them to even come close to displacing one another but I was never really successful. I believe it was easier here because of the orientation of my arm relative to my body made it just a bit easier in getting the balls to behave as I wanted them to. On earth gravity produced just enough drag on the stationary ball by weighing it down just enough so that you could produce the desired motion. That is have one sit still and the other one spin around and hit it and then it's staying still and the other one continuing the motion. Demonstration of the concept of momentum. The racket ball has less mass than the pool ball and as a result after a collision it will always travel faster than the pool ball even if I throw the pool ball at the racket ball. Here you'll notice it does move faster because it does have less mass. Now if I tape the two of them together and again hit the racket ball with another pool ball you'll see it curves around the pool ball. In this final demonstration I hit the two pool balls and because the racket ball has not been hit it just goes along for the ride. This ball and cup was one of the more difficult toys I demonstrated on the flight. You can see that the ball just won't stay in the cup as it does on earth. Of course on earth we have gravity holding the ball in the cup but in this microgravity environment when I put the ball in the cup and then push to hold it I actually push the ball away so I never could get the ball to stay inside the cup. We'll try again. You can see I just push on the ball and that pushes the ball out. In this scene I try to throw this ping pong ball the old fashioned way but it doesn't curve down toward the target like I would expect on earth. So I have to change my throwing style. I throw it straight at the target without any twist at all and then I attempt to throw another ball with some twist to see if it changes the direction of the ball as it goes to the target. Let me try this again. Straight with no spin. Oops, now one thing you'll have to remember is that the velcro of the ball does have to touch the target. Let me try this again. There we go. And then I'll throw it one more time with some spin to see if the target curves. Looks to me like it did a little bit. Now in this scene I take the target off of the lockers so that it's free floating and this is a good demonstration of how one object will react when you hit it with another object in space. Now it's floating around in part because of the way that the first ball hit it so I'll throw another ball to try to change the direction of the floating. I got it to work. I'll throw it the same way in space as it is on Earth. Here I try to throw a shoe the old fashioned way and as you can see that without the effect of gravity the shoe just bounces off.  Instead of throwing the shoe right at the pole I'm going to use a spinning motion to see if I can catch the pole and in fact that's exactly what happens. At this point the shoe is pretty stable around the pole and in fact this ended up spinning for a total of about five minutes. Without the effect of gravity it doesn't slow down and settle at the bottom of the pole. In this demonstration I take the horseshoe pole off of the locker and let it free float while I throw the shoes at it. That didn't work too well. In this demonstration I decide I'm going to throw a horseshoe at the pole in three different places to see how the pole reacts. In the first demonstration I throw it as low as I can to the base and as you can see there isn't much spinning motion of the pole itself as it reacts from having the shoe thrown against it. I'm going to try a different technique how about the middle? I begin to see the pole turn as it reacts to the shoe being thrown at it and it floats away. One last try by throwing this horseshoe at the tip of the pole or as it free floats away from me. Certainly seems to. Basketball is a sport that's near and dear to my heart here on earth and I was very interested in seeing how basketball would be different in space. As you can see I start out with a standard free throw type shot and the ball just caroms off in a funny direction not anywhere close to what you would expect from shooting the same shot here on earth. So I keep changing the angle from which I'm shooting and it's pretty darn tough to make a shot in space. Finally I look at it and I think that the only way to get the ball in the hoop is either to come up real close and slam it through or to try to bounce it off the ceiling. That's the only angle that seems to work and note that the ball stops in the basket. It doesn't get pulled all the way through. The next thing we tried was attaching the hoop to the book which is now the backboard with the very lightweight basketball I can actually make the book and the hoop start spinning. Well that makes life difficult when you're trying to make a basket up there and I ended up coming up with a very simple approach just hold the book steady otherwise it becomes very difficult to make a shot with a free floating basket and backboard. One of the things that's always impressed me here on earth was the ability of the professional basketball players while I was trying some of that in space you can see it's pretty difficult it's hard to control your body up there I finally managed after a while after a number of tries to figure out a way to go head over heels and accomplish a slam dunk. This is my entry into the NBA slam dunk contest for next year. Now I know on earth you think this toy works very well but in space we couldn't get it to work at all we had this thing floating around but without the effect of gravity it worked the same way. Now I took this toy, looked at it for a number of minutes and tried to figure out what in the world do I do with this thing up here. It took me a while to finally come up with something that appeared to be unique in space about this toy. Watch when I close and open up the Jacobs ladder. Every time I did this the ladder would turn into a different configuration. It was completely random and we the astronauts couldn't ever really predict what would happen when we pulled apart Jacobs ladder. To this day it still seems a mystery. Here I am trying to produce standing compressional waves by holding one end still and moving the other end in and out. The result had some transverse motion to it because my hand also had some up and down motion. In the next sequence I tried to produce compressional waves by moving my hand in and out a bit faster. Then I tried to produce the same type of wave by moving both ends. Next I tried to stretch the wave out and then I transitioned to producing transverse waves first slowly and then with a higher frequency and amplitude. These magnetic rings are really interesting. I've got them arranged on this plastic rod so that the poles of the magnets are opposite to each other and they repel or push away. You can see when I release the rings they spring out equally along the plastic rod. And it doesn't matter whether I hold the rod up, hold it down in a microgravity environment there is no up and down. They spread out equally along the plastic rod and push away from each other. Now I'm going to rotate the plastic rod very slowly and we'll see what happens. The rod is rotating so slowly that the magnetic force still keeps the rings pushed away from each other and the spacing is about equal about what it was before. I'll rotate the rod faster, now see what happens. Now the rotational force has overcome the magnetic force and the rings are pushed together. The magnetic marbles were a lot of fun to play with. What we were looking at initially was how far apart can we hold two marbles and have them still be attracted to each other. The first time we did it we had the opposite poles facing each other so they would be most attracting. The second time we tried about the same distance apart only with the light pole facing each other enough they attracted there as well. This time the marbles were just a little bit too far apart and they didn't attract. I put them closer together but I started the one on the right in your screen with a little bit of motion and that motion was just enough to overcome the attractive force so they did not come together. Now I'm looking at the influence of one marble on the other without touching it. Seeing how close I can come with one marble much I can make the second marble which is free-floating spin as a result. You can see that every time I make a pass around the marble I'm affecting the spin of the marble and actually I'm even pulling it towards the marble in my hand. Now I'm looking at releasing one marble with two marbles attached together to see if there's any difference in the attraction. It looks like the two marbles are pretty happy being by themselves and that third marble is left out. I'm seeing the third marble in motion and sure enough if it gets close enough it is attracted by the other two. Now I have strings of four marbles each and we're going to see if they come together. That's a funny looking snake-like thing. We've got a big kick out of seeing that. Then you tap it in the middle and it turns into a ring. This time I have two sets of four marbles and they had the light pole facing each other so they were repelling each other and back and forth and back and forth and they actually did repel each other and they're pushing each other away. Now I've got one set of five marbles one big one in the middle and two little ones on either side and I'm seeing what influence I can have on those five with one small marble and look at it attaches to the end of the string. This time I start with the blue face of the small marble and the five marbles together facing each other. Initially they repelled but eventually the attractive force overcame it and they came together. The next thing we took a look at was a string of marbles. We wanted to see how they reacted when we spun them around. As I spin them it becomes more and more difficult as I go faster and faster for the marbles to stay together. Where do you think they're going to let go? Now I have two rings of magnetic marbles. They show no sign of attracting. They seem to be very happy just being on their own, their own little ring. But if they get close enough and they're moving slowly enough they will attract. Let's try it with them very close together moving very slowly. You can see they just are very happy beyond their own and there is not nearly as much attractive force as there was earlier with the two individual marbles. The comeback can wasn't quite as interesting as it is here on the ground. I could let it go here as I spun it up and you can see how its rotation rate increases and decreases as the metal weight catches up. I also tried to spin it up before I let it go and you can see it rotates quickly one direction and slightly goes the other direction back and forth until it comes to a stop. But because you can't lay it on a table and spin it up and have it roll down the table or come back to you as you let it go it's not as interesting here. In this first sequence with the car and track the car up and just let it go without the track and here because of action reaction you see the car doing an end over end wheelie. Next I tried to get the car to run on the wall the main result when I release it is that the car springs back toward me off the wall from the little force I had applied with my hand to hold it there. Getting the car to run on the track was a bit easier in space than on earth because the car didn't have to build up as much velocity to stay on the track as it did on earth. In the second sequence I got the car started and then let it go. In the second sequence in slow motion wherever the car is on the track the whole system car and track together moves toward that general direction. Next I started the car on the track by giving it a push rather than winding it up. In this case we wanted to see how long the car would stay on the track if I held the track steady enough where I wouldn't bounce the car off the track. Even though I knew intuitively by the laws of physics that this would be the case it was amazing to me that any forward velocity of the car at all was enough to provide the necessary centripetal acceleration to keep the car on the track. Here in the second sequence where I just pushed the car rather than winding it up in this view the car ends up stopping on the top of the track.  Finally the car comes off the track and winds up in the center of the track before they both slowly drift away. Next in a demonstration of centripetal acceleration the car started on the track and then opened the track. Once there is an opening the car flies out in a straight line. Okay I just like to remind all the folks that are watching out there that especially the children that science applies to everything even toys. And we hope that our demonstrations today have given you just a taste of scientific research in space and we want to encourage all the children out there to do well in science and math and to learn all you can about the world around you because we need people like you to design and maybe even fly the experiments of the future. So as we say goodbye we're going to release all of our toys at once. One, two, three, now. Okay, bye bye everybody.


All right, we're live and it's now being recorded. All right, thank you, Serge. All right, I apologize to the public if there are any presents or to anyone who comes to this at some later date, it is now 1042 a.m. I've been waiting for the presence of a quorum and at the moment we still only have two members present. I have one member who's on vacation, one member who has informed me that she's likely not to be here and one member that is simply not here. So unless something happens in the next minute or two, which I doubt I'm going to have to declare this meeting of TSO on August 11th, 2021. GOL, George. Yeah, I'm sorry. What committee is this, right? GOL. Sorry about that, folks. This meeting of GOL for August 11th, 2021 to be canceled due to the lack of a quorum. So that's what I'm going to do and we can't have any business taking place. And so that's where we're at. And I apologize to Emily. I apologize to Serge. Yes, very much. I thank Pat for being here. And I will see hopefully at least three of you. Serge, hopefully will have better things to do but I'll see the rest of you on August 25th. I'm going on vacation for a week and I'll see you all on the other side, okay? All right, so we're going to end this meeting and I'm going to leave. Pat, goodbye, Serge. Take care, George. Thank you, Serge. Thank you, Emily. You're welcome. Bye-bye. Bye.


Welcome to First Time Watching Channel. Today I am going to explain comedy drama movie released in 2023. At the beginning of the movie, a former male stripper Mike Lane discovered himself alone and adrift in a sea of broken emotions and unfulfilled ambitions. In the wake of losing his furniture business to the COVID-19 outbreak, Mike Lane now resides in Miami and works as a bartender for a catering firm. At a charity dinner, Mike finds himself serving drinks to affluent socialite Maxandre Mendoza from London. A lawyer for Max's charity named Kim, who came over to have a drink, also recognizes Mike. As she navigates her divorce, Max thinks she needs a diversion. After the event, Max asks her staff member to invite Mike to speak with her in private. Max claims that Kim told her about his abilities while they are alone and he inquires as to the cost of a lap dance. When pressed by a price, Mike initially replies that he is retired but then offers $6,000 instead. Max offers Mike $6,000 for a private, intimate dance as a form of retaliation. Understandably, she boxed at his earlier request for $60,000. This is done in an effort to tempt Mike out of his self-imposed isolation. Mike agrees. He pours out what appears to be a whiskey and gives it to her, telling her to finish it, tests out the furniture to make sure it can support the weight of his acrobatics before he begins his work. Mike complies with her request, beginning with a lap dance and progressing to what appears to be a complex home gymnastics routine. The fascinating and beautiful dance scenario makes you want to see more. Mike and Max wake up together. A romantic evening with Mike rekindles Max's seal for life. Max wants to hang out with Mike more, but they can't share beds anymore. Max offers to take Mike to London for a month and pay him the $60,000 for his time, saying that it is completely business. Max claims that simply business while concealing the fact that she wants Mike to assist her in getting revenge at her unfaithful, extramarital husband. Mike agrees, and the two of them set out for London. Max gave him the chance to fulfill his dream of hosting his own stripper dance show. When he arrives, though, he is shocked to learn that Max wants to hire him to choreograph and stage a new play in the stuffy old London theatre that she has acquired as a result of her divorce from her husband. The play there is profitable, but Max wants to shut it down and start making male strip shows instead. Mike has been assigned to lead a stodgy theatrical production at the fictional Rattigan theatre, one that is being hampered by mediocre performance, a lack of creative direction, and, to put it gently, retrograde gender politics. Later that evening Mike had a video call on Skype with his buddies, apologizing for ducking them and letting them know that he is in London and promised to repay his buddies the kings to Tampa who had lent him money. Max and anyone else who would listen have heard Mike swear that while he will do whatever it takes to bring the Rattigan concert to life, he will never dance. Max handpicks Mike in a fresh group of tone dancers in an effort to save a show that is all but guaranteed to fail. Max also gives the former ruler of Tampa a chance to put on his own show. The scene shifts to Mike trying unsuccessfully to tie his necktie in front of the mirror when Victor comes over and offers to help. Mike's asks about the friends he'll be visiting tonight. Victor retorts that they prefer the status quo. Footsteps approaching it was Max who looked incredibly expensive as she walked towards her car with Mike in grand style. Both of them engage in constant conversation at the dinner table. When Max moves to kiss Mike in a car and Mike appears to draw back, she tells him that she's just drunk. Mike reminds her that she just had one glass of wine with dinner. They eventually got into a fight. Mike and Maxandra struggle to put together a performance that the latter hopes will persuade the women who watch it that they don't need to make as many sacrifices as they think. Together with the chauvinist British institutions that seek to stop them from performing their play, Mike and Maxandra struggle with one another. Although they are attracted to one another, they are unable to commit to one another in its entirety due to Mike's difficulty to be completely vulnerable and Maxandra's lack of faith in his affections for her. Maxandra chooses to terminate the project after learning that doing so will endanger her personal financial security. Mike, on the other hand, won't let her abandon him and their enterprise. With the aid of Maxandra's butler Victor, Ayub Kondin, and daughter Zady, Jamila George, Mike is able to organize a one night performance of his play prior to it being closed down permanently after a rain-soaked dispute with Maxandra gives him an idea for their show's grand finale. A few nights later, Maxandra comes up the theater and is shocked to see that her and Mike's performance has exactly the desired impact on the audience. As if that wasn't enough, when she witnesses Mike execute the show's big finale, she is compelled to put her love anxieties behind for good. Maxandra and Mike's dispute in the rain is transformed into a jaw-dropping dance sequence by Mike, who is joined by a gifted ballerina, played by real-life dancer Kylie Shea. The show is not only breathtaking to witness, but it also serves as an appeal to Maxandra to keep working on her relationship with Mike. Later, as the audience roars in approval of their performance, Mike and Maxandra once more meet face-to-face. Finally, the couple declares their love for one another and enters the swarm of revelers holding hands. Maxandra forfeits her portion of her husband's income as a result of her decision to support Mike in their show, although Magic Mike's last dance as climax suggests that Maxandra and Mike won't have trouble attracting viewers for their endeavors. In other words, Maxandra's wish for her play to succeed is realized at the movie's conclusion. She doesn't ultimately have to decide between Mike, her daughter, and her own financial stability. However, she ends up getting everything she desires as it should be. That's the end. Thank you for watching.


First of all I would like to thank Professor D. B. Fatak and Professor Nagesh for being our mentor and I would also like to thank our mentor Himanshu Singh who has been there for us in our internship period. This is the table of contents everything which we will be presenting today in our presentation. So first of all I will start with what is today's methodology of study. So initially the students right now are studying in a problem based learning manner. Now what happens is in this manner is the student try to explore new ideas but on a fixed pre-defined work paths which have been assigned to them by their teachers. In this method the student gain knowledge but the knowledge gained by the students is quite temporary because they have not used it in real fields. After a particular period of time the students forget the knowledge because of lack of using it. What is PBL? PBL first of all stands for project based learning. This is a dynamic classroom approach. It is a new way for students to gain knowledge. In this method the students learn by active learning as well as by inquiry based learning. The students are divided and they are given projects by the teacher itself and the students work in groups. One example which illustrates the difference between project based learning and problem based learning is if suppose the teacher gives a student a task to develop wind energy and in wind energy the teacher has already tell us that using wind energy they need to light a bulb. The student has the final target. They have the initial target and they just need to complete the two dots. But if suppose they use project based learning then the project based learning approach will be the teacher just tells the student that you need to light a bulb and the student can find their own part to it. So they have their own creative way of thinking and they can do it by in groups as well. Now I will ask my friend Miraj to continue. Thanks Amir. So I will be taking the implementation steps for this project based learning. The first point is the identifying the challenge. The PPS lies on the challenge which is meaningful, doable, implementable and feasible for the students to do. The next step is the crafting the driving question. It totally depends upon the teacher how he is driving the question. Totally depends upon the teacher what is the deep understanding that he or she wanted to give to the students through the project. The building the assessment allows the students to build up the solution for the particular modules that will be submitting to the teacher as a project. The plan backwards techniques allow the students to come out with the best feasible solution out of many solutions which is possible for the solution for the module. The annual and engaged and facilitated teams with these both the points are approximately similar that talks about the collaboration and teamwork of the students. The project based learning is an external learning process that allows the students to keep the end product in mind which they will know what is the core of the curriculum actually. So, so moving upon the next slide what we have done in the these next two months was we are trying to create that web service system which allows the teacher to create the projects and is associated modules. So, a project has been divided categorized into sub modules and the teacher can assign these sub modules to the students and the students are allowed to submit these particular modules to the teacher and these modules will be evaluated by the service system and it is being displayed on the teacher's dashboard. What is the status of each and every student and how he has performed in that particular project? Both the students and the teacher can see the status of the modules in the project through the directed dependency graph. Now, what is the directed dependency graph actually? It tells about the dependency between the various modules in the project. It may happen that the students or a group of students working in the one particular module waiting for another module to come up without output it may happen that that particular module will be depending upon another module. So, that particular dependency graph will show you the actual status of that particular project. The last point is module evaluation or peer evaluation these things to be added in our project currently, but right now our project is in that phase it will showing the dependency graph for that. So, these are the technologies which we used in the project that Django framework 2.0.5, Django REST framework which includes the Django REST API mainly, Javascript, Ajax calls for calling the REST API, jquery and viz.js for dependency graph. So, talking about the model specification this is the high level for the every any software engineer to talk about the basic ER model. So, if we talk about that R model we are having the four entities mainly the teacher project module and the student. So, in teacher model we are having the teacher idea as a primary key and the basic attributes like teacher details username password and we are having the name field also. So, this is the basic entity and this teacher can monitor the n number of project that we are having 1, 2 and relationship with the project. The project can have many modules that we are having with the foreign key as a teacher ID in the project and we are having the module in modules we are having the student and the project ID which as a foreign key. So, this dependency will be taken in the module through this self relationship the student ID we are having as a primary key will be having the next details and this will be deal by in the model specification by the result. So, now we will run through the model specifications of our project. We have basically four models as Mirage told you the first is the Soren model, teacher model, project model and the module model and it has several attributes as Mirage has already told you. Then the basic goal that we had to complete was build a restful API system for the project based learning component. So, basically we have several APIs for like we wanted a standalone server so that it can our particular system can be integrated with Moodle or Sunbird or any other platform that wants to use it. So, we basically have made both the server side and the client side the server side is fully ready the client side we are using in order to see what all functionalities can be added like can be shown by using the server side. So, first of all it contains the accounts model API which basically has the like functionality for sign up and the login thing when a user signs in he is assigned a particular token like when you create a user he is assigned a token using which he can access any of his characteristics that he wants. Suppose a user like logs in as a teacher then he or she will be assigned a token using which he can add a project or add associated modules or add students to particular module in it. So, basically the authentication token plays an important role in this. Next we have a project or module model API in which we can like the teacher wants to add a particular project. So, the basically the project there is a teacher project like the get request gets a list of project that belongs to a particular teacher and a post request it creates the creates a project on the basis of the particular teacher then we have a project info which returns the information related to the particular project yeah. And we have a get graph function like the get graph rest API which basically like if we make a get request to the server we get the nodes and edges related to the graph using which we can plot the graph on the front end. Next we have a student model API using which we can return the return all students information because suppose like in this particular system we wanted each one in the whole world to he can become a teacher or he can become a student as well. So, like if a teacher wants to assign a particular student a particular module then he should have access to the list of students who are currently registered to the particular system. So, the student list API basically gives the returns all the students information as jason to the client side next we have a teacher API as well using which we can get the list of all teachers who have been registered to the particular system. Next we have a wireframe diagram which will be told to you by Anshuman. So, thanks Rajat this is the workflow diagram first of all we have home page from there we can go through a sign up page and in the sign up teacher as well as a student can sign up. After sign up it will redirect direct to the dashboard whether it will be teacher or student. In the teacher dashboard there will be many things and first thing is you can see the detail of the project that he is already created. And then he can see the module dependency module means some problems of the project that he is created that they created by that teacher and after that the most important thing he can create a new project in which he can create modules and he can assign the students to this particular modules those students is part of the this project based learning system. And let us talk about a student dashboard and in the student dashboard there is mainly two things. First thing is that he can submit the problem that is assigned by the teacher first actually the student is a part of many projects. In the project history page after that he can submit and the next thing he can see the graph in which it will source the module dependency. Yeah, so next let us come to the client side what we have basically done in the client side this is the basic home page that we have created if you click on the sign up button here you have two options sign up and login you click on the sign up button you get redirected to the register page in which you give the user details and when you click on the create new account button and Ajax call is fired using which the particular user gets registered to the project based learning system and this system is completely separate from the server. So basically everything works through APIs nothing is like in the same system itself after we register a particular particular user as a teacher we get redirected to the teacher's dashboard in which you can see there are there are four tabs at the top home graph student details and the create new project tab the home tab is basically to get redirected to the redirected to the teacher's dashboard if you are on some other page if you click on the create new project like tab you get redirected to the create new project page in which you add the title of the project and the description of the project and you get redirected to the modules list page basically what we took here as an example is when you conduct an experiment in a class you have several several steps that you need to follow step by step in order to reach at the conclusion like conclusion is the final endpoint in a particular project. So we give the project name as chemical equilibrium and the and we have a particular description for that particular project next we need to assign modules to the for that particular project. So we assign the modules here and and we ask the students and we tell the students about a description of what the teacher expects through that particular module next what dependency means is you can see that one depends to that means the apparatus specification depends on the chemical specification obviously the chemicals that you use that affects the apparatus that you are using right. So basically the one depends on two and three depends on both one and two that is the procedure depends on both the chemicals and the apparatus that you are taking and similarly the project the observation depends on the procedure and the conclusion depends on basically there are two two procedures here who are working asynchronously like they can work simultaneously as well because one is for weak weak acid strong base and one is from for weak base strong acid. So both can take place simultaneously and finally there is a common conclusion. So the common conclusion depends on both four and six that are the observations of the two experiments that we conduct through this through this project. And the last tab here we have a student's list from which he can access the user names and he can search what all what all the student is expert at and he can he can assign the students to the particular modules by entering the user names there. Next once you click on the submit button the project gets added to the database and this happens through HS call as well once the project has been assigned you get redirected to the graph page in which you get the dependency graph of the modules that you have created. Like you can see here first of all you can see that the root of the root like the root of the graph basically is chemical specifications like everything depends on basically the chemical specification because on the basis of chemical specifications you get the apparatus specifications and then all the procedures the observations and the conclusion everything depends on it. So basically you can get a overview of the whole graph from this and you can see right now that all the color of all the nodes is currently the same. That means like initially no module has been like nothing has been submitted by the students. So the teacher is still expecting a student to submit his or her report onto the project. The next part of us will be that this is basically the teacher's project info these are the projects that we had added to the like the teacher had added. So he gets a list of all the projects and he can simply type like this was a search list. So he can simply filter out a particular project and get the graph related to the project there. Next he can view a list of students from the student info tab that we had student list tab that we had in the teacher's dashboard. Next this was this was the teacher's side. Now let us come to the student side. Student side was basically you saw here that there was there was a second module that was assigned to the user Tantrogen 1, 2, 3 and the fourth module was assigned also to the student Tantrogen 1, 2, 3 and the conclusion as well. All the three has been assigned to Tantrogen 1, 2, 3. So we log in as log in the user as Tantrogen 1, 2, 3 as a student and we click on the sign in button we get redirected to the student side board. Here we click on project history and we get redirected to the module info where all the three modules that has been assigned to them and assigned to him and the corresponding project has been mentioned using which he needs to submit the report of whichever module he has completed right now. So first he needs to complete he saw the graph he saw that first the chemical specifications need to be done. So he can simply enter chemical specifications here and he clicks on the submit button then he gets redirected to the page and here he lists down whatever things he needs to do and then he needs to click on the submit button and the module gets successfully added and the control shifts to the student dashboard. Then if you see the graph you see that the chemical specification is in a different color which means the teacher can identify that this particular projects like this particular modules data has been submitted by the user and after the evaluation thing the color would become something different like after the teacher evaluates what actually the student has done is it correct or wrong. Here he does that the color of the node will change to a different color next this was basically the client side that we had worked up on and like everything works through API. So it is very easy to integrate it to with any platform that you want. So now in order to tell you the benefits of project-based learning I would like to call upon Anshuman. So we talk about the benefits of the project-based learning. So let us talk about the first problem-based learning. What happens in our classroom if teacher asks the question only two or three students answers the question and the rest are like feeling sleepy and nobody care about that. So in the project-based learning actually each and every student is active. Each and every student is working something like us we are working on a project. And he is actually knowing about that what is happening why it happened and what should be and in the project-based learning a student can implement in the real world application also in this way there is many benefits in the project-based learning. Scope for improvement in our project right now we do not have any evaluation procedure. So once the code gets submitted we have no way of checking whether the code submitted is correct or wrong by the student. So two ways the code can be checked first is code evaluation which is done by the teacher itself but it's a long process because if a teacher has suppose a thousand students or more under him he can't just sit and check every student's code. So the second method which can be done is peer evaluation in which we assign its peers itself will check the code for the student. Second thing one disadvantage of PBL is that PBL isn't suited for objects such as social studies, history, geography in which the students have to learn something need to re-tree, mug up. Practical knowledge will help them only up to a certain level but PBL isn't suited for that. Third basic thing which can be improved in our project is we don't have a discussion forum right now the teacher himself has to decide what the student needs to do. The project itself is decided by the teacher but in the discussion forum what we can do is that the students itself can come up with the project and then after getting the validation of the teacher whether the project is can be applied or not it can be decided by the teacher. Future of PBL right now in all over the world PBL methodology of teaching is being implemented only in two places first it is implemented in CIC in Delhi and second it is used in West Virginia Institute. PBL metal of technology will be most suited for us after the technological boom hence PBL method will help us in the near future and with PBL students will learn in a much faster rate and the knowledge which they gain with PBL will be with them for a longer period of time and it will also help them to adapt to the real world. Conclusion so during our stay in internship for the last two months we have tried to build up the system the system which we have built up illustrates how PBL should be used effectively we haven't come up with the way to check the code but apart from that I think we have illustrated how PBL should be work in teacher and student model perfectly that's what I feel these are some references which from which we got help in learning what PBL and problem-based learning is thank you you are open for questions. Basically did you research on what PBL is so this is not PBL first of all okay system is good I have no problem with the system what you have developed is good so purpose was to teach you about the cycles of software development and let you understand how the team work so this is not PBL okay PBL is something bigger than this what you have created if we come to the requirement of a project based learning system okay so nowadays project are being managed okay so like you mentioned that it is not possible to teach history mathematics with this system yeah you are right but the projects are even if they are in mathematics area or geographic area they are still being used yeah so companies are managing project using the project management systems which are already there okay so a separate PBL system is not required because there are project based project management systems which are being used by the companies nowadays and those can be used directly see what happens in a project like you said the projects are divided into modules correct companies do that company manager project manager creates a project then it divides the project into multiple modules then you assign employees to the projects the system is already there correct and the communication so once a employee submits the report others can comment on it project manager can comment on it and this is how they can create one more item one more module for that project so the systems are already there the only thing if we are going to use it in collaborative communities we have to see if there is a open source project management system available or not and if it is there how we can implement it so so there are tools available but you may need to customize for example if you want to do peer evaluation or if you if you're looking at 50 million students taking up so then you need to do some customization but when you look at even the project management tools which are already available there are so many things in in them that you know people actually get lost so why not have something which is very basic and which can be used for a particular course for example software engineering I want to teach software engineering or somebody wants to teach software engineering so he wants to say or you know kind of a project which can actually run but generally I mean if you see software engineering how it is thought people just read the theory and they do it but then then they don't understand right we have so many things today we have github we have these that but we are not utilizing anything of this sort so that is why we felt that could be a small small thing you know where where suppose I need a github there you know I can tie github to a particular module right suppose I I need to show them what is a code you know quality checks which can be done by code factors or so many things which are already available so each of these modules could be tied to a particular thing so where automation is not possible let us say we can do peer evaluation I want to answer that question sir one thing is that inside a company they will take approximately one and a half months just for the feasibility check whether this particular project is feasible or not right now we are just planning for that for the software for any software development we should check the feasibility right so any employee need to check the feasibility for 1.5 months but in in the two months we are just on the development development of the graph stage so directly we can't jump to the fourth level for this PBL the PBL we know that PBL is very expanded level for that version just now we are developing from the scratch so we are jumping up from level to level so I'm not saying that your work is not sufficient work is sufficient what I am saying is that see PBL has a big disadvantage because it's project-based learning correct so once a student is doing a project he can either be successful or become a good person in his area or he might lost completely and he will say he will decide that I am not a person for this particular field this is the problem with the PBL so if there is no guidance by the teacher then a PBL will lead to failure of the students rather than teaching them more useful thing so actually the thing is that in a classroom suppose a teacher teaches a particular topic like whatever whatever a student generally does is that he goes to home and simply mugs up whatever the teacher teaches to him or her in the class but he's not actually implementing what is learning in the in the class itself like there is no such methodology using which he's implementing what is what is actually learning so this is a way in which he can implement his skills and know where he stands in stands actually okay okay thank you


It's time for our next keynote speaker, Ellen Smith from the University of Oxford. I'm very pleased that Ellen is here with us this week. She is the busiest woman in the world, and the lead up to the 400th anniversary. I'm going to take this, that Ellen is a professor of Shakespeare study at the University, and a professor at the heart of her college. In the comfort part of her life as a man, it was part of that we were launching Oxford University into iTunes 2, that was back in 2008. We had some early disclosures for early offer of this, 2008, 2009, and for Oxford Origins, Oxford podcast, we became one of the largest growing connections of the licensed university lectures online continues to grow. Since 2008, Oxford podcast, we have 1,000 audio and video platforms. 50% of that content is live on iTunes. It comes from 6,000 individual presenters, and it has more than 23 million episodes downward, more than 10 million episodes streamed, that is a massive online open connection for terrible people. Ellen was one of the first of the Oxford podcasters, and the first of our influencers to record the podcast himself. He just does it, he just gets on with it. Today, she's published 48 episodes of part of the 700th series.  Approaching Shakespeare has had more than half a million episodes, and we think that a total number of red 700,000 episodes be regularly featured in the ITU Global of Ed. She also championed the publication of early art, version of what we did in the first public, complete with a visual field, frame one to one series. That in itself has had nine three types of reviews. Ellen was one of the cast that wrote a small part of her work. Whenever I hear discussions about open academic practice or colleagues who make the choice to make their materials open, I think about Emma and other colleagues of Oxford who share generosity, and always with a wise watching eye as to what might happen at the result of that series and how that might be back into their work. And let's talk in terms of pre-elimination. Last year, didn't she not build this? I must switch the mic on. Thank you, Melissa. And of course, what Melissa doesn't say in that introduction is I would never have done it had she not been at the University of Oxford then, and that was a set of quite happenstance decisions about what I would do with my undergraduate lectures which have changed my professional life and lots of things I do quite without my planning. What I'm going to do today is go through some of those early art activities that Melissa outlined. From the point of view, not of an expert in learning technologies and not as somebody who has researched in some ways how these things work. So I've learned actually already an enormous amount today about the work many of you do. But from the point of view of an academic doing this sort of on the side, or doing this as part of my everyday work, and reflecting a bit on what I've learned during the course of that. So I guess I've got a kind of subtitle. One of the things I wanted to try and talk about with you this afternoon was why academics, including me, are worried about this. You know this already, you encounter them. Some of you are maybe in that category as well. What it is that we are worried about and how those worries might be counteracted or repurposed in some ways to be helpful and reflective ways about using OER resources. But I want to start with a kind of parable from my own work. And this is a parable about OERs and openness, I think. This is a story about the Bodleian Library. The Bodleian Library was founded at the beginning of the 17th century as a repository for all books published in English due to an arrangement with the stationers company. In fact, they didn't want all books. They only wanted good and respectable books. And one category of books they did not want was plays. So 1603, this is right in the middle of Shakespeare's career. It's probably the most golden period ever in English literary culture. And what's happening goldenly is happening in the theatre and Oxford with a actually rather familiar to be looking back, a capacity to miss what's right under its nose. Decided no, they wouldn't go for that. But they do make a decision to go for the first collected edition of Shakespeare's plays, the first folio in 1623. And you know that book, but there's a picture of it there and a picture of the original 17th century library in which it was stored. It was stored in a chained environment. Something quite interesting to me about that in terms of our interest now in openness. And you can see on the bottom of the closed book the notch, the nibble that the chain has taken out of the cover. So this is a book that became part of the university library which had some aims to be open to be open to certain categories of people and we've been talking all day, I think, about how openness means different things in different contexts. By the middle of the 17th century, though, this most important of English books had disappeared from the library. And one of the things I've been interested in in a lot of my work is how apparent repositories, places where things are kept safe, are actually very permeable. Things move in and out of them all the time. And that's actually quite helpful for me for thinking about ongoing questions we have about how we might preserve the digital material that we're creating now. I kind of think we won't probably and that's probably fine. But maybe a bit cooler about that. So this book, just as a sort of forerunner to that, this book had left the library by the middle of the 17th century. And it seems to have left it because there had been a new edition of Shakespeare, the so-called third folio, and the Bodleian, again, with an airing ability to do the wrong thing, thought that it now had a new shiny version and it didn't need the old one anymore. So this book was sold off as a kind of piece of spare kind of scrap. Let's just have a look at that. I don't think that was exactly the thing, but you understand it was a bit like that. Okay, so the first folio goes from the Bodleian and it's missing from its collection for two centuries. We fast forward to the beginning of the 20th century when a young man, a student at one of the Oxford colleges, comes with a book in a bag to the librarian saying, we've got this old book and my dad is wondering about having it rebound. As soon as the librarian opens the bag, he sees that book with that nibble out of its cover and realizes this is the copy that we let go from the library 150 years ago. This then starts an enormously interesting chain of events and it will come round to open as I promise. Firstly, the librarians are so pleased to have got this book back that they begin to trumpet in an enormously bragging way how wonderful a book it is. They think that it is the most perfect copy of this book in the world. It's not and actually that doesn't exist. There's no such thing but they trumpet that and that attracts a rather unfortunate piece of interest. The man there in the cartoon with a copy of Shakespeare's first folio under his arm and a Gainsborough painting under the other arm is a man called Henry Folger. He's an executive with Standard Oil in New York at the beginning of the 20th century and he is a monomaniac for first folios. At the point when the Bodleian first folio returns to Oxford or re-emerges from loss, he has bought 30 copies of this book and he's on his way to getting another 51. So he circles around, attracted by the idea that this is the best copy of this book he could ever have a completely unfeasible sum to buy it, 3,000 pounds. It's at least 10 times what it was worth or rather perhaps we should say what it would have cost on the open market, what it's worth is a much more difficult question but it's very, very expensive. What happens is that the Bodleian begins rather haphazardly a fundraising campaign, essentially a crowdsourcing campaign to get 3,000 pounds to keep the book. It writes to, it attempts to write to alumni this is the first university development activity ever in the UK. It's enormously laborious and sometimes when I've talked to our development colleagues they feel we haven't got much better at this but they write to people, they write to, they put adverts in the times, they try to activate local pride and particularly national pride. Nobody knows that it's Henry Folger who wants to buy it but they're pretty clear it's an American and this point is one of the letters that comes back up there in the top corner hoping it's possible to raise the sum required and to prevent this treasure going the way of all our English treasures to America. There's a massive transfer of English cultural property to the US at the beginning of the 20th century and it's really, really fascinating. Lots of that property had already been expropriated by the English in the first place so it's things like Italian Renaissance paintings. Nobody could get too worried about that but Shakespeare seemed so Englishly English that his book became the standard bearer for this cultural inferiority complex. The Bodleian raises this money through a number of very small gifts. In the end there are more than 100 contributors and most of them give relatively small sums of money. So it's a really sort of ground up kind of kind of fundraising campaign. I think rather counter to what they expected I think they thought that some wealthy person would put up a lot of the money. So we get a lot of letters in the archive about ordinary people saying here's half a crown, here's a guinea, here's 50 pounds, in fact one man writes to say I did send you a guinea but could I have it back because I've fallen on hard time since then and I think they do send it back. But these are small sums of money from people who are not very well off and the book is bought for the Bodleian and it comes back to the library. Now this is a great, Freud would have a field day with this, this is an amazing story for the Bodleian of sort of loss and return. They have done a very good job in suggesting that this was a sort of accident somehow that it was ever lost rather than an absolute committed error. And they've also done a good job in suggesting that while it was away from them it was just really not being appreciated and not loved at all and really it was just waiting to come back home. So it's an important narrative for them and for their sort of institutional identity. If we fast forward another century by the beginning of the 21st century when I wanted to look at this book it was judged too fragile to be consulted. And it was part of, during that time I was working on the first folio, the history of the first folio and I was invited to give a lecture to the friends of the Bodleian library who are a rather conservative group of people who raise money for the library and I decided that I was going to go into this with guns blazing so I told the story of how the Bodleian had got this book back and then my coup de grace at the end was to say and the thing is it would have been better if Folger had bought it because he would have looked after it better than we have. It would still be possible to open it to turn the pages and the fact that it isn't means that we have completely squandered this gift that was given back to us by the generosity of our donors. This went down very badly as you might imagine. Very, very badly indeed. But it did galvanise one really important project a project to digitise the book and to try and make our digital surrogate the best one that we could at that time, the most responsive the best quality images the most able to turn the pages the most able to search and also of course openly accessible and reusable. We can look at that in fact we'll go straight to that we can look at that now the website is firstfolio.bodleian.ox.ac.uk It's a great project and I'm really proud of it and I'm proud that a huge number of people made that happen and made that book available in a way which spoke to its history in a particularly appropriate way. We did actually refund this digital digitisation project by repeating the appeal to people to buy the book back and repeating the appeal to get small donations which we did in 2012 where we got we asked for a donation of £20 to make up £20,000 which was the cost of digitising. This has been quite an interesting story about how open access works has worked in my case very much as part of an institutional context and I was thinking from our question really great keynote this morning and our question time afterwards the thing I'm really able to talk about is content and a little bit about how content shapes open educational practices and is shaped by them in turn but I also need to think about sort of privilege which I think was importantly highlighted right at the beginning of the conference. I work and I'm very conscious that I work at the intersection of lots of different kinds of privilege I work in a privileged university I have the privilege of quite a lot of control over my own professional time I can do if I want to do this kind of thing that nobody's stopping me and similarly nobody's making me do it but I also more problematically work at an institution which is associated sometimes justifiably with social privilege and has been for centuries. That makes openness and the language of openness important to us but it also means that we can I think Oxford is in a particular position that it can be dishonest about the extent to which openness really re-orders hierarchies and I thought about that a lot to do with this particular project what we did was to put this big book, this 900 page book you can scroll through it, you can turn the pages you can search for particular words as a transcript you can download image sets you can do all kinds of things but I still think that you need to know quite a lot in order to make use of it in any way other than the most superficial superficiality is not bad not again superficiality I'm deeply superficial myself if that's not a contradiction in terms but if you actually want this to be a resource that people can use in a more scholarly way or can develop their own understandings of Shakespeare it needs more material around it and one of the things I've come to think about open education resources in my own discipline literature and humanities more generally is that they've been much more comfortable with putting up other people's material than with putting up our own that's to say humanities scholars are very interested in how you might put up documents copies of early books playbills, archives those kind of material from university collections and so on what we've been much less good at is putting up interpretive material teaching material the kind of stuff that humanities academics are producing all the time for their day job of teaching and working with students which I think is pretty much lost to the wider community and to individual learners who might be accessing that material I think there's more to do with this site and more to do with this as a resource a couple of things that we did was to have workshops with teachers talking about how you might use this in the classroom and that made me think that there's a sort of hybrid model with which you're probably already quite familiar but we needed to stumble on a kind of hybrid model which puts a digital and online material next to some kind of face-to-face interaction which helps people think that which walks people through what's there and what they might do with it now I know you can walk people through what to do in a remote way but something about the difference between the online experience and the face-to-face experience seemed to work for us in doing those teacher workshops I'm just going to go back one just in case you're interested in more first folios that get lost it seems to be an occupational hazard for rich people who have these books and don't look after them too well just in case you're interested in the Scottish first folio which we authenticated just last week it's on display on the Isle of Butte over this summer it's a beautiful place to go and they are very keen I think that this very kind of charismatic book that they have in their library might help to leverage some of the tourism potential that there is on Butte sometimes when I look at this slide this would be my in some ways my answer to Catherine's question before if open is the answer what's the question I kind of feel this is the question I mean it's a question about private ownership isn't it and what that means private ownership in all kinds of ways in economic ways but also in intellectual ways I'm just going to move on to another project which we did as part of OER this great writer has inspired and I wanted to bring this up to try and reflect a bit on something I already touched on which is sustainability what lifespan we think OER items should have what's their kind of natural life lifespan and what do we do with them can we euthanise them what do we just wait for them to kind of dwindle away are we waiting for technical changes to make them stop working or do we actually put them out of their misery earlier on you see where I'm going this is a great site and we worked with school teachers particularly on how to manage a transition between school level English literature work and university literature work not just for Oxford although obviously with a strong sense of our own potential benefit from this you don't need me to tell you that undergraduate access kind of social justice in sort of high elite university admissions is the biggest single problem I think facing Oxford and other places at the moment so anything we can do that actually does make it possible for people to come to meet the requirements of our quite difficult academic courses I think is a plus what we did was to bundle together here quite a lot of resources that already existed as e-books in order to sort of try and develop able students beyond the set texts that they might study in the classroom we tried to package these up with kind of author specific themes but also some more critical themes ideas about feminism or how literature and history might relate to each other we recorded some new lectures short lectures from university academics to try and sort of bring the whole thing together so this was a project which was partly reusing stuff we already had and trying to make it more visible make it more intelligible and then trying to develop some new material which helped people to understand how they could navigate through it and what kind of things that they were looking for it was a really successful project and for those of you who are involved in this kind of thing it was presented by the English faculty as one of its REF case studies and REF impact case studies were a strong part of the English submission mixed feelings about that kind of instrumentalization of impact case studies which I'm sure many of you have had experience of but we gathered a lot of statistics and we had a lot of feedback and a lot of again we did the thing of going into schools and working with people on this material showing them again we felt that it didn't quite fly on its own and I just think still don't think you quite got that right how you could self teach in a way which is not completely linear how you could self teach with a load of OER resources I haven't seen that done really well yet but I think a lot of us are trying to do that better so Great Writers Inspire was doing really what was doing really well we had some GISC funding the funding ran out for that it's maintained in that the links are kept going but we're not adding material yet and that's quite an interesting point I think now to think what do we do with it do we wait to get another little bit of money a lot of the money in this field you'll know this better than I do seems to be very very much project oriented is the assumption that we will just absorb the projects and their ongoing maintenance into what we normally do when that funding is dried up or that somehow the project is over when the funding is over I think a lot of resources kind of hanging about still that perhaps nobody is really looking after and maybe we ought to think about culling them in a more rigorous way I think that unless we put some more material into Great Writers Inspire in the next 18 months or something probably this is something we should think about disaggregating and putting back into a general disaggregating all the items and putting it back into a general kind of OER pod the last thing I want to talk about because I wanted to bring up the idea about academics fear and the fear of openness Catherine started us off with quite an emotional definition when one of the definitions she picked out on that slide was quite an emotional one being not hidden emotionally being not closed off emotionally and I think there is a really useful definition of open to have in mind when identifying what it is that people find worrying about this as a step what it is that academics find worrying and although this for me has been the most transformative thing that I've done simply putting my undergraduate lectures on iTunes this is not a technical miracle I do understand that this is a thing that is really ordinary and that lots of people do it's not a thing that so many people have done in my environment but it's a thing which has completely transformed my sense of the audience to whom I might be speaking I began doing this by really just in broadcast mode I was already lecturing two undergraduates one of the things about my environment is that we don't really do centralized timetabling you can often be lecturing at a time which for very legitimate reasons is not very convenient for students I thought that my own students would benefit from being able to pick up the lecture at a point which is convenient to them as Melissa said it was the point when Oxford was thinking about iTunes and that seemed as good a format as any to make that possible for them I didn't really imagine at that point that there would be a wider readership and I couldn't really imagine a wider listenership and I couldn't really imagine how anybody found anything really on iTunes or would sort of come across it it seemed very very unlikely once it was clear that they were being listened to by a much wider cohort there was one very very good outcome which has been a good outcome for me all the way through this process which is people wrote to me and said thanks for doing it it's really nice to have them which is just an unalloyed nice thing occasionally they asked a question about something not in a way which was burdensome or couldn't be managed there may be some iTunes superstars who can't manage their mail bag but I'm certainly not one of them so that was a good thing the bad thing was it made me terribly nervous about lecturing so things that you would just say off the cuff or that you would feel quite happy with you will know this sometimes your lecture is good you just kind of go with it really and it's just one week and you're back the next week or you've got another chance to do it if you're recording them well you sort of have to go with that I suppose but it's magnified and its impact is magnified I found that very difficult to think about and I also found it difficult to kind of be in the moment in the lecture while thinking this is going to be listened to well sometimes that was quite funny somebody told me that the bishop of Sathak listened to my iTunes lectures and I suddenly heard myself a few weeks later talking about how Midsummer Night's Dream was really about bestiality and I started to get the giggles thinking about the bishop of Sathak so I did say I don't know if the bishop of Sathak is listening but shut your ears shut your ears bishop so sometimes that had a funny aspect to it thinking there are people listening who are not here in this room but sometimes it had a kind of more a more paralyzing aspect to it and I did have a gap between some of the series of the lectures that I put up on iTunes U when I went back to recording lectures I realized the style I used had changed and in some ways the style I used in the lectures was less interactive than it would have been it was more, slightly more so in some ways I was making a step forward by making this material available in some ways I was making a step backwards by making a certain kind of rather old fashioned lecture that you know someone like A.J.P. Taylor would have done in the 1950s or something and I hope not with the same content but no questions within the sort of recorded period because it's a bit too complicated to get people to agree permissions and so on and no I did smuggle in a handout I usually lecture to a handout for students but I started to have to stop mentioning the handout because people who would listen to the lectures this sounds a tiny thing I know but people who would listen to the lectures would email me and say maybe I could have that handout and then I'd be trying to find it and I'd be worried about the pictures and what did I have permissions for the whole thing and it all was too much too complicated so I did change those in certain ways but what I didn't change and what I don't think I would change is that these were real lectures in real time with a real often coughing and disruptive audience and as Melissa said I recorded them first on my iPod and then I think I'll record them on an iPhone now so they're not wonderful products they are and so sometimes people write to me and say these aren't wonderful products but more often they write and say we love the idea that we were in an Oxford lecture and that this was a real thing I also feel that maybe making quite a rough cut set of lectures slightly endures me from one of the problems that being in a position of privilege in this OER world gives you which is the idea that your institution might somehow crush other ones so I think of this as the kind of Michael Sandbell problem where the philosophers from San Jose University wrote to him to say we're really glad you've done your mook but we're really upset that our dean wants us to use it in our teaching, in our university and that probably means we'll be sacked ultimately because we'll be using you instead and there are all kinds of problems about that my lectures would never be a kind of they would never be taken up by anybody else in that way partly because they're on slightly random topics and they're designed to make people think about plays rather than to go through a kind of syllabus and partly because as I say the quality is not good enough so there's something a bit secondary about them as artifacts and I actually like that that's true to the process we've been through I think and that's something I would like to retain so I suppose thinking through that the most exposing thing then about being involved in OER has been to put up lectures it's really easy and fun to coordinate all kinds of other resources and other material it's been fabulous to work with collections and to think about how you might make that material more accessible but there's no risk in that really there's no personal risk at all in that the risk is all about when you put your own material up there but I really increasingly think that in the humanities that's what we must do we must put up the interpretive material, the more tactile kind of haptic sort of material which helps people to do the job that the humanities are about which is the job of questioning and interpreting we are not a data driven discipline and I think we have been lured by big data kind of ideas from the sciences, the idea of the database every humanities academic I know wants to make a database of something and you think yeah well that's kind of great but not really that's not really what we do and it's not really all that the internet can do and it's not really all the open educational resources can do but just to conclude what I've been saying then I think what the difficulty is is how we reward people for putting their material up and that comes back to questions of privilege it's not too difficult for me to do it in fact it's very easy for me to do it and I get quite a lot of approbation for having done so I already have a tenured job I'm enormously fortunate in a very difficult academic environment it's not so difficult then for me to do this there's more gain than loss but that's still about using and leveraging a reputation which needs to be made in the academy as it works at the moment by other means you cannot as a modern scholar academic I don't think you can make your name in OER material I still don't think that works either in scholarship or in teaching and I think that there is an aspect of modern academic life which has made us as academics more and more unwilling to risk material which we don't think is complete or to risk the kind of peephole into our teaching which retains a kind of mystery that nobody sort of wants to or what wants to penetrate I think that's a step change for us that we need to make as academics and the thing that I keep telling my colleagues and you must encounter this too is that often when you talk about how to make material more accessible how to make it more available people present with a technical issue about why they can't do it it's absolutely clear to me that there are no technical issues absolutely nothing at all are they, that technical issues almost always are proxies for deep anxieties some of which are entirely justified about the way the academic world works and others which are just you've kind of just got to get over yourself you can't be as private teaching is not as private it's public duty you should let other people see what you're doing and I think if we could get past the idea that OER is somehow a kind of technical or a technological phenomenon and to think of it as a pedagogical one but really as a kind of ethical one I think we may be able to pressurise I think that is the right word we may be able to pressurise more academics to centre it in their practice teachers and as scholars thank you do you want to take this one and then we'll go to the back I'm more of a lay person who lives in the University of Oxford I'm just wondering if you have any advice for those of us who are working with technologists trying to get academic students engaged with projects like the one that you have done because I know I don't know what the rest of you guys are doing sometimes it's like when you get them to try and do these digital work it was very nice to be able to do that I completely see the question and one way one of the many ways I feel fraudulent standing here talking to this particular group is that I have had almost no effect whatsoever in my own institution in making more people do this and that's something for me to ponder I suppose the question for me is to try and understand why it is that people feel they can't make this step and as I was saying I think that sometimes it seems too complicated to manage and there are ways of stripping out that complication but really this is about a kind of perfectionism in academics I think academics quite often are perfectionists they want something, they need something to be absolutely finished before they do it so then we've never really got in my discipline we've never got work in progress going as an idea if you advertise the work in progress you get some completely finished sort of book manuscript I think people say I just thought this is where I am with my thinking now and you think that's just going to be published you're not going to change what you think so I don't think we're very good at revealing that our process is actually and maybe that's what's stopping your academics doing it and many people feel under an enormous amount of pressure don't they as I'm sure you do in your roles but feel under a lot of pressure to do lots of things in different directions and maybe feel exposed and bringing us to do things that they don't feel they'd be very good at in the humanities which is really hard to understand because I think people who are white essentially want to be red and they would take millions out of years and to me it's this institution of culture that stops them from doing that it's the fear of not having been like impact rating or something like that so I wonder if you have any thoughts around how that culture might be changed for the better I know you've been to some of these things already and what do you think in the humanities especially there's so much to gain from being open? I think you're absolutely right in the course of your question I think the academic humanities has failed in finding an alternative model which it itself can believe in for academic publishing so we've continued to give our labour as reviewers and editors of journals and then we have also been curiously unconvinced by various kind of open access requirements there's an enormous amount of resistance to that in the academy as I see it which I sort of understand but I feel actually I don't understand but I wonder if you're absolutely right and I don't mean this entirely facetiously I wonder if you're absolutely right to say people want their work to be red there is a slight sort of inverse relationship between readers and value I think in the humanities which has always had English literature perhaps particularly has always had an inferiority complex about whether it's difficult enough and a lot of the history of English literature is about trying to make it more difficult or more scientific or more closed in order to give it the kind of cache of a proper academic discipline so it may be quite hard for us in a way to get back from that and to acknowledge how much close kin we have with non-specialist readers and that we are not really a separate kind of ontologically different kind of academic being so I feel that the question of I was thinking of using and then I thought there were too many gender problems with this but there's a something which is often quoted in book history it's a Venetian judge in a trial which is partly involved of Gutenberg printing press the sort of proverb is the pen is a virgin the printing press a whore there is a sort of ongoing sense through the history of technology that too much spread too much openness I started to wonder whether openness is one of those words which is slightly differently gendered or comes an open woman slightly different person from an open man or the connotations of open are a bit different then I think that's been touched on quite a lot I think there is a worry that you can be too lots of people have reasonably kind of good humbly kind of tweeted me for saying all those people listening to your lectures there must be something wrong with them either them or the lectures to give a lecture that nobody wants to go to is the sign that you're actually really quite an elite quite an elite person great