OK, good morning, good morning. So today, day two, we're going to add some new information. But you know, as a good teacher, you should always start with what we now know, right? So I wanted to just, it says on our schedule, I'm thinking, what am I supposed to do here? Breakfast, tacos, check, check, I've done that. So I welcome an introduction. Well, OK, we all know who we are now by now. And we're not going to play the game with the tables again. But I wanted to use this a little bit of time here to kind of review what we talked about yesterday. So the first day was really about talking about the basics of flight, what are the components.  What did you, if I had to ask you, what is the essence of the literary in the everyday? That's the construct that we're working with, that kind of intersection. What does it mean to you now, after talking about it for a day? What are some of the elements? You don't have to have the perfect discourse and all of it perfectly packaged. But what are some of the things that come to your mind when I say now the literary and the everyday? Come on, come on. Yes? Oh, yeah. Where language can be playful in the everyday and where you can look into how language is being manipulated and used to have symbolic meaning or historical meaning and all that stuff and really pull that out in a concise way? I like that, all that stuff. Because all that stuff covered, so yeah, you touched on an element that was central to what we were talking about yesterday. And that is we've redefined literary in terms of play. And again, one of our kind of the mission was to come up with a terminology that was a little bit more transparent for students. That's a little lighter or less heavy than some of the literary criticism. So we're doing textual analysis and we want it to be serious, but we also want it to be accessible and be accessible right from the day one, from beginning students. So yeah, we've redefined it in terms of play. So what were some of the play? She mentioned a couple of elements of play. So what are some of the elements of play that we talked about in the text? Texts can manifest what kinds of play. And all I'm doing is just like, we talked about all these ideas. Can you pull it out of your head? Yes. Thank you. Maybe some grammatical play, like deviation in syntactic forms. We can use pun, we can use metaphor, something like that. Yeah, grammatical play, grammar play was one of our types of play we've talked about. And since you mentioned grammar, one of the things that we try to do is take people from the mindset of communicative language teaching, which is still primarily focused on grammar and lexicon as the resources, and say there's more to text than just, you know, it's a pretext for talking about grammar. We're pretty good at doing that and getting students to talk about that. And typically you have a text at the end of the chapter, and a text is somehow cumulative. And the idea is to take all the thematics of the chapter and all of the grammar points. And magically they all appear in the text. So it's a nice review. And we're good at doing that. And then it's followed by some comprehension checks. And remember in my little opening story, to return us back to day one, I said that Joanna was kind of reacting against that. She saw a lot of those kinds of texts in our materials, which she liked, but she said there was something missing. So she wanted to go beyond that kind of a communicative language teaching approach to text. And she said there are other things that I want to put in my students radar, essentially. I want to expand the agenda, besides just looking at a text in terms of grammar, grammar play. So what are some of the other kinds of plays that she wanted us to really delve into? There are more plays. Just what are the kinds of types of plays? Cultural play, narrative play, genre play, pragmatic play. OK, so all of that is available in a text. And many times we don't feel like we have time to touch on that. But that was really part of our agenda. We wanted a part of her original agenda, which is now our agenda is to try to take a text and get people to sink their teeth into it. And play with textual analysis and do that right from the beginning. So in doing this workshop, I've come across teachers who say, that's too much. We still encounter resistance. That's just too much. And remember, the other part of the story, the narrative that I told about Joanna, was couched in terms of the MLA, the 2007 report, which says, if our goal is translingual transcultural competence, this idea of the self-awareness that we're moving between these two kinds of languid cultures is the term that she used, then we need to do more than just keep up repeating grammar play, drawing their attention to grammar. So that calls into this larger set of terms and larger set of ideas that we want to put on their agenda. So that's where these kinds of pieces were coming together. So what are the things that you pick up then in working, or just ideas that you had that you were working through the text? And let me shift to, so that was Joanna, the basics of a flight. But in Chantel, was shifting our focus a little bit more towards actual lesson, lesson planning. So what were some of the main ideas in that discussion, that presentation? What did Chantel talk about? You keep reposing questions because, yeah, working with the notion of familiarity, familiar, so how to defamiliarize, how to take something that's familiar and make it feel unfamiliar or vice versa. Yeah? Using their regular knowledge and apply them creatively in order they could grasp the meaning. So, and also, I didn't plan on giving lecture this morning. It's not a lecture, right? It's not a lecture. All we're doing is just I'm trying to remember. Yeah, OK, I'll just say the way I got it. Yes, that's the first we present a new text in a familiar way and kind of applying their knowledge. Yes, because they can apply their just regular knowledge in order to predict possibly what the meaning will be about. And after that, when we present the text in a new way, so that's where they apply their creative knowledge. And after that, yes, that's the actual work begins. So and conceptualizing, I can't pronounce it. Yeah, yeah, yeah, that's right. That's conceptualizing. And here, that's where a student analyze the text and practice. And that's how they can actually understand it, I think. So you hit on all of, she was talking about it in terms of pedagogical acts. And remember, she had four quadrants borrow that from Cope and Colensis. They talk about it in terms of pedagogical acts. You can think of it as a cycle. And the order is not important. They were not dogmatic about that. But the idea is that you experience a text, as you were saying, familiar. A text reminds you of another text. You analyze it or you conceptualize it. Then you help them name things in the text. That's kind of the overt pedagogy that we're good at doing. Look for the relative pronouns or look for the metaphors, that kind of thing. And then she talked about analyzing a text in terms of kind of more the critical and the functions of the text, reframing it in their perspective. This text is written from whose perspective, that kind of idea, so criticality. And finally, applications. So you said all of those things. That was it. That's all of that. Not as beautiful as you do. No, no, no. That's what I've gone over this before, right? But I did my best. Yeah. OK. And so today, I want to add something. So that was all what we went over yesterday. And then you came up with your, you have texts that you're working with, and some of you are thinking that, all right, I don't have enough yet for a lesson, but I have lots of cool ideas. And that's good. That's where you should be right with this. So we're going to push you a little bit farther along today, and hopefully by the end of the day, you will have a document. And it's starting to take shape. It's not going to be finished. Because as I'm going to talk to you today about this kind of life cycle, this metaphor of hopefully it's going to have a life beyond this workshop. And it will continue. So let me talk to you a little bit about another big idea. And that is the concept of open. Because that's very important to what we're trying to do, too, looking at language as a system. And by the way, we're talking about flight and textual analysis. But behind all of this is really a conception of language. We're shifting people's understanding of what language is. So a text now we've redefined, as I would say, any communicative act. It's an example of communication. And it pulls together, then, these different elements of communication. It's not simply we're talking about languages, this decontextualized abstraction, the linguistic system we're talking about, an actual instance of communication. So that presupposes interlocutors, that presupposes a cultural context. We have an utterance or a message there. So all these different things that are there to be analyzed. So it's always the text and the context and the people. And all of that is part of what language teaching is today. So when I ask people, what do they teach? And they say, I teach Spanish. I teach English. I teach whatever their language. They typically respond with language. If you ask your students what is a language, and you put it to them like that, many of them will tell you grammar, vocabulary, et cetera. But if you ask them what is communication, then they'll say people talking to each other. So what we're doing is expanding the frame of language to communication to include all those elements that a text has in it. And that's not on a lot of people's agenda, frankly. But if we're ever gonna realize the goal of translingual transcultural competence, which remember that's what the MLA report was telling us we should do, then that is part of the agenda. All those elements need to be there from day one. So Joanna used a word, and actually Chantel too, and that is language culture, because we're really talking about how people make meaning, and they make meaning in these different kinds of contexts. Okay, so languages, yes. It's just, I've been meaning to ask this question since yesterday. Oh good, burning question. Yeah, because we've been talking about this literacy-based, yes, approach, and my question is, is it the same as content-based approach? You know, because in some scientific literature they explain this content-based approach and it kind of looks very, very similar to me. So is this what we're actually talking about, or is something different? That's a great question. And I'm gonna just respond to you, and then I'll let you guys talk to, anybody else can answer that. One of the things that we were trying to say yesterday is that the dichotomies that we find all over the place, language and content, and I'm going like this because this is lower division, language and then magically you have content in upper division, that's a false dichotomy. Language and content are always together. So content-based language instruction was kind of acknowledging the fact that you have to have content to have language. You can't have one without the other. So if you plan a curriculum around content because that's inherently interesting, you know, different kinds of content, then language will follow. So that's how, so in a sense, the whole impetus for content-based language instruction was along the lines that we're talking about. It's an integration of form and functions, always there together. What do you guys think? I mean, I think I would agree with what Carl said. The one thing I might add to it and please do also, I know people in the room also work in this area, feel free to chime in. But one difference for me, typically in content-based language teaching is the content is the medium for teaching the language. But there tends to be a lot less of that analyzing and conceptualizing stage that we talked about yesterday where you really kind of get your hands dirty digging in with the language. And so I think that although there's a lot of harmony between the approaches, that's one really central difference between typical content-based language teaching and what we're talking about. Yeah, that's important. I will actually touch on this when we go through a later session where I'm gonna summarize some of the main goals of the approach. But my short answer to that is, you know, what is the content of a language course? It's language. And I don't mean that in that decontextualized sense that it's been assumed or put into practice, is that when you understand the literal and the literary as being part of that semiotic system of meaning making, that becomes the object and the focus of that's the content of your language because it includes culture, it includes, I mean, langua culture, right? It's a much broader concept. That's content. And it's not just a linguistics content, it's content. So that's my answer to it. Corey. Here. So I think of literacy-based instruction as synonymous with text-based instruction. So there's an explicit commitment to textuality and use of text as resources for meaning making and literacy-based approaches. Content-based approaches can do that, but there are a lot of different forms that that CBI can take on. And some would argue, yeah, texts are also central in content-based instruction, but not in all instantiations. Does that make sense? Yes. Thank you. What? Interrupted. No, no. I forgot. So, but since we mentioned semiotics, yes. As I know, they perceive texts. Yes, for them texts, they could be different texts. Even a billboard is a text. Yes, because it's a sign. Or any oral speech is a text. Or music video is a text. So do you mean that text-based approach, in this case, that as a text, I can use not only something printed. Of course. But even a music video or just any listening or... So... Yes, any discourse, any semiotic discourse. And that's the multi-part of the literacy. So it's no longer just print text. It's not what people think of as language. Because language is always in contact with other semiotic systems. So we're talking about many of you have chosen multimodal text to work with. And the analysis then is really multimodal analysis. How does language then work with other meaning-making systems? I was just gonna add, and I think this piggybacks off of what Corey said as well, maybe a distinction between, you can have text in the classroom, but that doesn't mean your approach is necessarily text-based, as in you're taking textuality really seriously. And so I think for me, the one thing about it being a text would have to be that it's transposable. So if I had a... If we were... Well, this conversation is being recorded right now. If I were to transcribe that and bring that into a classroom and work with that, that becomes a text because it's been contextualized. It's been turned into something transposable that we can look at. Which is different from kind of ephemeral conversation that we have trouble grasping. So that would be... But I also saw it because, yes... So for instance, if I teach Russian, yes, and if I take any corpus data, because we have Russian corpus, then it also can be considered a text that I can base my classes on. Sure. So yeah, we've defined... I mean, text is... I was saying originally it's a communicative act, any instantiation of communication then is contextualized. You can study it as a text. That's what we mean. And that opens it up to... It's very broad. But I do think that one of the fundamental differences about the flight approach, or about multiliteracies in general, is a self-awareness. So we are actors in this system. And if we're gonna realize then the goal of translingual, transcultural competence, there has to be this awareness that I can choose to speak in this language or in that language. I can choose this construction, but it has an impact. So I wanna put on my students agenda from the very beginning that kind of notion of self-awareness. So a lot of these activities build that in. All right, so let's talk about openness today. And that's a very important key design feature of everything that we're talking about. And I'm gonna kind of broaden it out a little bit and say that what we're really discussing in open education in Coral, the Center for OER and Language Learning is really about open education. So what is that? So open education, you think of like a 30-minute little summary, a 30-second summary of it, started about 25 years ago with the open source movement. And a lot of you have heard about open source that refers to the code that software was written in. And as it began, people started realizing, wow, software is gonna be important because Microsoft and Apple, they're gonna run the world. Computers are becoming more and more important and the actual code, the operating systems who controls that controls a lot. They're very powerful. The actual engineers, people all over the world who were engineering the code, creating the code realized that maybe we were concentrating power into the hands of a few and that wasn't a good thing. In other words, no matter what kind of social system, whether it's a system of a company or an educational system, we can conceive of it as more or less open. And essentially it's the concentration of power. Who has the power? Okay, so the engineers said, maybe we should have it as an open system so that many people can contribute and continue to improve on it. So it wasn't just that they were worried that Microsoft, for example, as a company, as a multinational company was becoming too powerful, but it was that the power was being shut down and it closed, it shut out a lot of people. So they said, let us all play. We all wanna play to improve the operating system. So that's the kind of idea behind the open source movement. Let the code be open so that we can all play along. Now there exists open source code and closed code, just like we have with text. Some texts are gonna be open and we wanna play along with each other and some texts are closed because it has a C in the circle, which means copyrighted, don't touch it, okay? So that's the analogy, they're similar. Open education then and the open source movement spun off in many different directions. We have the open democracy, the open societies movement, which was to promote transparency in politics. That's not going so well. But it's an actual movement. There's the open data movement in science and particularly in the hard sciences because as we amass these large databases, we realized this is crazy that we have all this information about epidemiology in one country and we're not sharing it with another country because germs don't care about borders. We need to talk to each other. So if our computer systems and our scientists can't share their data, then we're in trouble. So we're now working on standards to make data shareable in many different disciplines. That's the same kind of impulse, okay?  So we wanna open things up. So education is a system too and there are different ways of talking about how it can get closed down and create shutouts. In the United States, since World War II, we've had a steady increase in people going to colleges. We've been expanding and democratizing education and so higher education went through an explosive growth in the 60s and 70s after World War II. More people became college educated than ever before. And then around 2000, it started to slow down and it's actually leveled off. So what that means is that people who are first year, first time in their families, people going to college but their parents had not gone to college, that was always going up and now suddenly that stopped. The educational system in this country is starting to close down. So, and it's not just in this country, it's in many other countries. So we started to get worried and there has been a pushback, a kind of grass roots. All of this is very grass roots reaction to a lot of the social problems of the day. So I'm painting this big brush. It's open education is a social movement, a grass roots movement, nobody's in charge of it. It's not being run by the US federal government or any other government, it's just us, if you consider yourself an open educator and it's fundamentally grounded in a value system. I believe, I believe that education is essentially about creating knowledge. These are ideas and these ideas should be set free because I wanna share my ideas with you so that you can turn around and share your ideas with somebody else. So there are a lot of metaphors we can talk about but I like the metaphor of illumination, lighting a candle. That's a well-known metaphor for teaching. I kind of inspire somebody, I like their light and they can turn around and light somebody else's light and you can give it away and this is the interesting thing. David Wiley makes this point. He's a well-known person in the field of open education. In analog, the analog world, and here I'm gonna make a shift. The analog world, if I have a book, anybody have a book on their table? Nobody does books anymore. Okay, the thing about analog books, oh, this is gray, it's from a library and everything. This is so old fashioned. If you have a book and I give you the book, watch this, everyone, watch this and Keith takes it. I don't have it anymore. So when we create objects in the real world and books in particular from the Gutenberg press, we would give it away. Well, the great thing about digital is I keep a copy. We can keep a copy. So we can just give it to everybody in the whole world. So there's been a huge shift with the digital revolution. We can give information away, we can give it to somebody without giving it away, basically. We can just keep replicating it. Okay, big ideas and that's the shift between open education. We have all the tools we need right now to fundamentally change everything in the game. And the internet and digital reality has changed the equation. Okay, so let me zero in on our logo because I really love our logo. But you see the Center for Open Educational Resources and Language Learning, or OER, because it's an acronym, it's a thing now, that's what we talked about. It was actually coined in 2002. The acronym itself was coined in 2002 during a UNESCO meeting. And people said, you know, people are learning stuff on the internet, we need it. It's not exactly a textbook, it's not, and it just takes all these different shapes. And so they created this meeting, they came up with the concept of an OER. So it's a thing, right? And at the end of this workshop, I hope you will consider yourself an open educator and you'll be talking about OERs. You're creating an OER, okay? So the definition, actually before I get to the definition, I'm gonna give you definitions of a lot of these terms and then show you different types of OER. But let me play you a little video that which is really about the culture behind, because we're talking about values. Values are really what cultures are all about. So there's a digital culture. These people, whether they're open source engineers or they're open educators, they have a value system. And the concept, the value of remix is central to this. So let's take a look at a short video to wake everybody up. Everything is a remix. And does this, before I play this, and this is actually 35 minutes, so I'm not gonna play all of it, just a real short bit of it. But do you recognize anything? This is thinking about texts going from the familiar to the new, from the old to the new. What is this? Star Wars. Star Wars, okay. Let's go. Okay, you get it. This is actually a really great little documentary about the concept of remix and it shows you so many things that you already know about because you've lived all of this history. So all you have to do if you wanna watch the entire thing, and I would definitely encourage you all to go back and think about this, because to me, this is language. Language is remix. I'm echoing here. I think I'm talking, yeah, thanks. So texts are quintessentially remixing because, and they go and they talk about this, great authors, well-known authors, they stole from all kinds of different sources. Now, when I call it stealing, that sounds bad. They remixed, right? They appropriated ideas, and sometimes rhyme schemes or metaphors or sometimes words themselves, so. Now, we're not here to promote plagiarism. No, but we are here to promote then this concept, this culture of remixing, which is fundamental to open education because let's face it, we don't just, none of us start anew. The whole idea of multiliteracies is that we are born into a culture that has designs, as Chantel was saying yesterday, these prefabrication, these prefabs, these pre-existing designs, and we take them and then we make them new ourselves. So we add our own little salsa picante to something that exists, okay? Okay, so those are some of the big ideas as well as this idea of this social impulse of keeping systems open to let us all play, to let us all have the fun that these people are having with remixing. Okay, so a definition, what is an OER? And it's typically open educational resources as long we just use the acronym, OER. Basically, it's about these five things, if we call them the five R's. You have the right to retain, to keep a copy of it. That sounds weird, but actually, there are some publishing companies now that produce materials and you sign up for it and then magically, poof, it disappears at the end of the semester. So when Keith gave me that book, he wants to retain that book. So that's essentially a right. You buy something, you have the right to keep it. That's what it means. Reuse it, that I can use it in many different contexts. Sometimes, publishing companies or different kinds of companies will say you can only use it in this particular context. Redistribution, let's say reuse can also mean to make a copy of it. We violate that. Teachers are notorious for violating copyright, right? They see something and they, I love this. It's great for that lesson. They make a copy. They don't have the right to do that. The C in the circle means no copies, no reuse, okay? Uh-uh-uh-uh-uh. And when you make a copy, as this teacher has, she's brought in something from someplace else, she typically wants to make copies for everyone. That's a different right. She redistributes it. So she makes 30 copies because she has 30 students. That's another violation of copyright. The notion of remixing is then taking something that pre-exists a text and putting it with another text, right? We also then have the notion of revising. So Joanna's book that I showed you yesterday, The Literary in the Everyday, it exists as a Google document. You can go in and change the words that she has. Maybe you think that she over-explained a concept and you just want to get rid of it. You can cut that paragraph. Or conversely, if you don't think she's explained enough, you can add on to that paragraph. That's revision. So that's what we're talking about. The wonderful world of OER lets you do that. You can copy, you can retain, you can remix, you can revise. So why OER and why has it become so important today? Well, there are two basic reasons, financial and pedagogical. And we'll start with the financial. The graph shows textbook prices have gone crazy. In this country, this also tracks along with tuition. Around about 15 years ago, suddenly tuition in this country went out of control. That's why we have people who wanted to send their kids to college and suddenly they can't afford it. So as I was saying, after World War II, people kept sending their kids to college. It went up and up and up. That has stopped now because it's gotten too expensive. Part of the problem is textbook prices and I know it's a problem because the federal government, the Congress has actually had hearings on textbook prices. So you know when it's caught their attention, everybody knows about it. Do you have any idea how much it costs, an annual, the annual costs for textbooks for a typical American college student? $1,300. Okay. Now $1,300 at some institutions like the University of Texas or at Cornell or that's no problem. But if you're a student at Austin Community College, that's a problem. For moderate or low income families who are sending their kids to school, maybe they're the first in their family to go to school and they have, all their resources are going to send their kid to school and then they suddenly realize, what, you've got $1,000 for books? They're not expecting that. And we now have evidence that shows that textbook prices are tipping point. It's keeping people from graduating. We have 50% of American college students, 50%, half of our college students have dropped a course because of the price of a book. 50%. We have documentation now that shows that the price of books because they're doing all kinds of creative things in your classrooms. They're not adopting books. They're not buying the books or they're sharing books or they're finding ways to get around textbooks. So it's become a problem. And I'm talking about the collegiate, higher education. It's even worse in secondary schools where they don't have books. I'm hearing from teachers all the time. I have three or four textbooks now for my entire class. And it gets even worse if we talk about outside the US where we have educational systems who are really struggling for pedagogical materials. Okay, so financial is a huge problem and we're trying to figure out ways to get around that, overcome that. And I'm not here to bash publishing companies, by the way. Publishing companies are struggling to, many of them are actually going under right now. Academic publishing as a field is in dire straits. It's really problematic. The other problem then of course is the pedagogical which is why we're here. We wanna have new ideas come into and research-based ideas in our materials and it's hard because our books are looking increasingly outdated because publishing companies are so afraid the profit margins are so tiny, they don't wanna innovate. So they take a book and they market, mass market it. They make sure that it'll sell to everybody and that of course makes generic boring books. So they're becoming less accepting to innovation. Okay, so let me move on. Open educational, so what exactly is it? It can be anything and anything that you're gonna use for educational purposes. Traditional language textbooks are limiting. With no way to customize them, teachers can feel stuck. We're here to tell you about open educational resources. An O-E-R is any material shared by its creator that has a Creative Commons or other open license and is available at low to no cost. While traditional textbooks have a copyright preventing you from making copies or modifications O-E-Rs allow you to remix, revise and reuse materials, creatively adapting your resources and sharing them with language teachers and classrooms all over the world. Come explore this new pedagogical landscape and open up your resources and your classroom. Okay, so now you get the main idea that an O-E-R is something that gives other people that shares the rights. We're creating this infrastructure of shareability. There was something that was said in here that I hadn't mentioned and that's an open copyright. It has to have an open copyright. So let's talk a little bit about copyright and I actually put an S on there because copyright is essentially then copyrights. It's a bundle of rights. And typically it's weighted against the user. It's really in favor of the publisher and the author. Remember it's the right to copy, the right to distribute your copies, the right to make derivatives, that means change the original and the right to sell, uh-oh, financial gain. So these are the different rights that are available. And typically the C in the circle, in English, it's followed by three words, all rights reserved. And they're reserved for the publisher and the author. So when this started, when the whole concept of publishing and copyright started, when you go way back to Gutenberg, this might have made a little bit more sense than it does today when we have the digital world where it's so easy to copy and paste and edit. And the bigger problem is that it locks down ideas. We don't want to steal from people but we want to be able to share and create a legal system for sharing. So the right to use, this is really under copyright what you have. You can use it as is, okay? So the book that Keith showed you, he can read it and that's all he can do with that. Okay, you can't change it. So Creative Commons, this is key. And in your, there's a brochure in your package there, in your folder, the copyright, the different copyright symbols that are used by Creative Commons. So this is, I've already given this to you. It's part of Coral's little brochure here. And it's based on pretty transparent, these are icons here. Attribution is fundamental to all educational practice. So every OER carries this symbol. In other words, attribution points back to the originator. If Cori creates a lesson and she is going to create a lesson and she puts a CC, notice that all my slides have this little thing on, that's a CC license. And that has attribution. So if you want to use our PowerPoint, and I hope you do, remember you have access to it, you can go back and share it with people, then you should at least give me credit for it, okay? So fine, I want you to use my materials, but please just at least acknowledge that somebody shared this. That's good practice, that's good educational practice. Okay, so that's, we're not plagiarizing, we're giving credit, we're creditors due to people. The symbol of course is no, you can use this, but you may not profit from it, you may not sell this, okay? So if Cori creates something, maybe she doesn't want you to turn around and put it in something that you're gonna make money from. She has that right to negotiate that with you. Share a like, that's kind of the recycling symbol. That actually means licensing a like. You have to adopt a license that, if you're using a material and it has a license, you have to use that same license. That's what that means. No derivatives means this equal sign, the original must look like, you can't change it at all, right? It has to, whatever you're doing must look exactly like what you started with. In other words, if you, somebody was, the Louvre. Okay, coming back to that. Okay, so you have an object, an image of the Louvre that you found from Flickr as somebody took the picture, and it says there, give me attribution, don't use this for non-commercial and no derivatives, meaning don't photoshop my, don't use this photograph as is, okay? So that's what those things mean. And you can combine them in different ways to create different licenses, okay? So we're saying the least open in the universe is all rights reserved, that's the typical notion of copyright. The most open is what we're calling public domain. You find something out there, it says public domain. You can use this any way you want to. We don't even have to give attribution, sometimes we don't know who created it. So the space in between is really what Creative Commons is all about. Creative Commons is a group of lawyers, international lawyers, because copyright is an international concept. And all of these then are clickable, they can click on it, you get information in different languages. So it works and it's held up in courts of law around the world. Okay, so let me show you for the flight project, we want you to create your own free cultural work and we want you to license it either with the most open or the next to most open, which is attribution plus share alike. And let me, I'll get to you in just a sec. So the idea here is some of you will say, I don't want my work being taken by Pearson and put into their textbook. That could happen with this most open, but it cannot happen with this. So we give you the option. The share alike means if Pearson produces a textbook or any other publishing company, they're gonna put a C in the circle. This says, that's not sharing alike, you're not playing the game of open with us. So if you're uncomfortable with somebody in the room taking, repackaging it for a profit, then you will have to do this one. Now, what typically happens is when people first become open educators, they're not quite sure about this sharing business and I've worked on something and if I just give it to the world, people are gonna do terrible things with it. Probably they will. Yes, I'll just tell you that right.  Look, you gotta let go. Okay, I've seen people use our materials in ways that were never intended and it drives me crazy. They'll say, I love your textbook and then they tell me how I use it. They use it and I, no, no, no, no, no. But the reality is you have to let go for it to kind of come back to you. Because what I've learned basically is the more open you are, the more you contribute to the commons. The commons is us, it's cultured. And the more you set your ideas free, the more powerful those ideas become and they come back to you in ways that are just completely unintended, unexpected. So that's where we are. We're gonna be in the green zone with flight. But still, if you're uncomfortable about this notion of people making a profit, I'm fine with you saying S-A, okay? Sheer like. Now, question. Yes, my question is, when I try to find texts or presentations and sometimes, of course, I see all these copyright things and everything. So, and even sometimes authors say that you can change anything only with my permission. And then I spend like a week trying to find that person and of course, I can't. And then I think, ah, yeah. You know what I say and I just use it anyway. So, because I understand that all these copyright things, they really limit me, you know, in my findings and everything. So, and again, I make my choice. I know that I do not like, I don't do the right thing, yes? Because if author says that, please contact me and if I cannot find the author, then the right thing to do is not to use his or her presentation, for example. So, but it's just very sad that it's, if I cannot use the text, you know, online in order to adjust them and to present my students it will definitely limit my options. Let me answer that question real quickly. So, she's raising the issue of copyrighted materials, essentially, if a publishing company wants to use, is creating a textbook, a German, beginning German textbook and they have these cool videos called Easy German or whatever you were showing me, it's copyrighted. They have lawyers to contact people. You can't do that, you as an individual, you don't have time to. I'm not talking about textbooks. Textbooks are kind of pretty serious issue.  This is just an example. So, it's for everybody, for textbook companies down to individuals. You don't have the right to use that and so you have to contact them to get permission. That, and typically they'll answer you, well, maybe they'll answer you and then they'll say $500 please and then I'll let you have. Most of us don't have that money. We're just writing a little activity for our classroom. So, what we're gonna say is, you can use a copyrighted text by giving a link to it somewhere on the internet. You can use a copyrighted video by embedding a link. Linking is absolutely legal but you cannot actually download that content. So, that's one way to get around copyright. Can you please look at this one and tell me if I broke the law in this case? So, it's very important for me because that's what I always do, you know. I always put the links in it because I'm from Russia and all this credit that you guys like so care in the States. It's not like that in my country. And I just want to know if I broke the law in this case or not. So, I'm gonna come around. We're heading into an application. That's exactly what I'll be doing because after this you're gonna have lots of questions. Am I breaking the law? Am I breaking the law? You raise another, so I will answer you but not right now because I have lots of slides to show you but that's an important question and all of you are gonna have lots of issues like that. So, but the answer, to answer your other question about or the other issue about different cultures of copy, copyright laws. Yes, so remember we're trying to come up with something that works internationally which is terribly difficult. People joke and say that copyright means the right to copy. And some cultures maybe. But what we're doing is playing the game here in the US. I'll explain to you what that means because if it works here, it's gonna work in Russia, right? Okay, question and then question. Yes. Isn't there an exception in the copyright law of various for educational purposes? Yes. Not for textbooks, obviously. But if you find like an essay or an image or something like that, isn't there an exception to that copyright law? Yes. There is something called educational fair use and people think it's this huge escape hatch for educators. But actually it's quite limited. You're allowed to use, if there are two conditions for fair use and the first one is do you transform the original work? Meaning is the purpose, let's say a song, Beyonce. Okay, I keep coming. Beyonce has this song and you, so the point of creating a song is for cultural, it's an artistic work, it's for entertainment, whatever Beyonce says. You wanna use it for your own educational purposes. So that transforms the work. That's okay, check. The next part is usually where people get into trouble and that is you can only use a small bit of the song. I mean, I'm talking like 10 seconds of the song. People say, no, no, no, I wanna use the entire song because that's the text. Almost all, if you start to read the fine print of fair use, it's just a tiny little bit, whether it's a video or a song or a text. So that's where people have, that's where they violate. And they think they're protected basically because I can put it behind a firewall or some of my CMS or LMS. Yes, it's unlikely that people will actually be able to find that, but it's still not legal. So if you ask and I have the lawyers here at the University of Texas, are we breaking the law if we put these videos because there's this really cool video of Beyonce at the Louvre and da, da, da. I'm like, well, I didn't tell you this, but. So people are breaking the law all over the place. And they would say to you and they have told me, if anybody ever contacts you, if Beyonce's lawyers contact you, then we will simply take it down. And that's all the, they're not interested in suing you as an individual, but yeah. So we are actually trying to go a step further and publish materials. And when it comes to publication, you need to be careful. So we could like take a little snapshot of Beyonce's video. That'll be okay for fair educational fair use, but we can't embed her in the entire video, right? That kind of thing. So fair use, yes, it gives you a little bit more wiggle room, but not as much as most educators think. Corey, you had a question. Just a clarification question. What's the difference between share and like? What's the difference between share-alike and non-commercial? Are they just opposites? Yeah, share-alike is whatever the material, whatever the license is, you have to adopt that license. You have to pay attention to that license. So non-commercial is just one part of a license, let's say. Let me come back to that and try to make that clear with examples, yes. Okay, so you now know the basic difference. The copyright means all rights are reserved. It's really fundamentally for authors and publishers and not for the rest of the world. So basically what we're doing is then trying to negotiate rights with users. And we all then become users. We're all users, but some of us also want to create. So there's another concept here, and that is when we say the word open, what do we mean by open? It actually has two senses. And in romance languages, it's usually translated with the word libre, libre, ressource éducatif libre in French. So what does that mean? Well, gratis means, of course, it's free. You don't have to pay any money, but it also real, and there's this great kind of joke in the open source movement they talked about, they tried to explain it to people, they said, we all love free beer. Actually last night, those of us who left early, the hardcore, we were staying and we had free tecate. They were, I don't know why they were doing a promotion for tecate cereza, like hey, you want free tecate? And we all went, yeah, we want free beer. That was free beer, meaning we didn't have to pay for it. And even though we'd had several margaritas and whatever, we probably didn't really want free beer, but when people offer you free beer, you say yes, right? So free beer, yay. But we're actually talking about it in the other sense of the word, which means free as an unfettered or it's more of free speech, it's a right. And that's fundamental then to people's mission, the educational mission. We want this to be open and free so that people have access to education. That's what we're talking about. Okay, so then you need to understand what OER, the different types. And I'm gonna go through this fairly quickly. An OER can be anything that is used for educational purposes, anything. This is why I go through, I make sure that my PowerPoints carry these licenses because sometimes PowerPoints can be reused. PowerPoints are powerful. You can use them in classrooms, anything. Here's an activity. This comes from, we have other projects at Coral and we are trying to get people to create their own materials and then license them to share them with the rest of the world. So it can be as small as just an activity in a classroom. And this is a Word document. That's it. But as long as it carries a license and has information, then that is considered an OER. Maybe a little bit bigger than just an activity, you can have an entire lesson plan or a unit. So Susan Strauss is a professor at Penn State University and she's published a lot of her materials with CalPIR, which is another National Foreign Language Resource Center, and she has lots of different units. And it's nice because there are multiple lessons and activities, but they're chunked in a way that people can use them, okay? So that's a little bit bigger, but still fairly granular activities, lessons. Much bigger than it could be an entire curriculum. So French Interactive is something that we've been working on for years here at the University of Texas, and we make it available. And it has hours of video and hours of audio. It has a textbook, downloadable textbook, it has PDS and blah, blah, blah. That's a first year French curriculum. So going from one activity by an individual to an entire curriculum that was developed by 30 different students. Now we even have courses because a curriculum is like content, but there are courses online. So you take the content, you put it online in Canvas. We use Canvas here as our management system, Blackboard, whatever. There are things called MOOCs, right? So the actual, you can actually transfer an entire course because how you take a textbook and then divvy it up into your syllabus and rearrange it, all of that is actually, that adds value to a textbook and people say, I want your entire course. Now it's possible to give people your course. As long as it carries an OER license in Canvas you can do it, you can give people your courses. Syllabi, this is interesting because 20 years ago, it really started this open ed movement in the United States, started at MIT with an act from the administration at MIT. They said that all of your syllabi must be open. You must publish your syllabi. And there was a little bit of a freak out by the faculty. What do you mean? Because people weren't used to making this public. And now they've kind of doubled down on that and they really want as much of the course materials available to the world online. So MIT in the United States took the lead in this kind of notion. So syllabi, and at the University of Texas we have a state law that's mandated by our legislature. We have to post our syllabi. It goes to a server. I don't know whoever wants to look at my syllabus. Okay, so podcasts, another unit, another kind of an OER. It's not just what we think of as a language lesson but it can actually be a tool. So we've created at UT something called e-comma which is a tool for annotation. You can take a text, boom here's a text. A French Creole text. And then people are starting to annotate it. It can be used in different languages. And so this is a tool. It's open, people can adopt it. They can play with it. They can recode it if they want to.  I started the workshop with. It's something that looks like a textbook. So this is Joanna's textbook. There, I mean it just keeps on going. Anything used, so this is a really cool website called StoryWeaver. You can create digital stories in different languages. You create something. You might wanna go to the step of then choosing a CC license, a Creative Common License. And then they have a place, an archive, where you can go and find other stories that people have created. You might wanna use that. Okay, so digital stories. Videos, I was talking to some of you yesterday about the SpinTechs archive. We've had a big project going on in social linguistics at this institution by two professors, Barbara Bullock and Jacqueline Torribio. And they have conducted hundreds of hours of interviews with native, and actually heritage Spanish speakers here. And this is a place where you can go for teachers to find these videos, and we give all the content away for free. You can download the videos. They come with transcripts and on and on. They're all coded, so you can click on determiners, and you can get, I mean, you can do all kinds of cool things. It's essentially corpus linguistics. So videos are another category. Professional development, content, wikis, et cetera, et cetera, et cetera. So it's a huge, the term OER covers everything. You will note though that all of the examples I just showed you are natively digital, which is a big difference, okay? Okay, so we're gonna get to something that's really important then, and you have to be able to find the content, searching and finding. Sometimes people just search, but they never find. So I want them to be searching and finding, okay? So this is the price of admission for this, I think. I tell people this, and this is what you need to know leaving this workshop. CC Search, it's your one place to go for finding open content on the web. And you can see Flickr, Google Images, Jamendo, YouTube, SoundCloud. These are all what are called search engines, and they go to different parts of the internet to look for content. The content comes in different media. So you can search, you can do your query up here. Let's say graffiti or German graffiti. You can narrow it down because you've got a lesson you're working on and you want to give examples of that.  Okay, so major platforms for sharing CC work. First of all, it's really taken on. It has exploded. People are using CC licenses and those, it's just going up exponentially. It's really exciting. There are billions of objects that now carry CC licenses. They're open for you. So right here, Flickr of course has the most content of any platform, 415 million photographs that are open. Now there are a lot more photographs that are actually closed and copyrighted, but 400 million I think you're going to be able to find some graffiti there, okay? People always tell me, look, I found this great text but it's closed and I said, yeah, okay. So you need to retrain yourself to start looking at the open world instead of the closed world. I mean, sometimes you're going to find a great video that's closed and you want to use it. That's okay, you can just put a link into it, but more and more try to go as open as possible. Try open first. These are then just other platforms. YouTube has millions of videos that are open. Not all of them are open, some of them are closed. Wikipedia, Wikipedia, Commons, Vimeo, okay. All right, so what do you need to do? You need to start paying attention to CC licenses. And many of you have noticed it but you're not paying close attention. So these different kinds of platforms or archives or repositories, places where you have a lot of content, they have a way of searching or filtering than the content. So up here for Flickr, you can go and you choose the license. And so we want to look at Creative Commons licenses. Those are all different open licenses. So I'm looking at graffiti. I guess it looks misspelled there, but who cares? You know, it's the internet. So if I spelled it, I'd probably get a better, I'd get even more, but okay. So you type in graffiti and on Flickr and you choose a Creative Commons license, open license, and it gives you how many does it show up here? It's gonna give you thousands, okay, thousands. And if I spelled it correctly, I'd get even more. Okay, so I go through, I'm doing a flight lesson and I think, wow, I love this. Because I'm talking, the poem I'm using is talking about society, la sociedad. And this is beautiful and it somehow fits with the theme I'm developing. I need to check. Okay, Fran here, Valena, has titled this. She's given us a title. This is the title. And so I need to remember give attribution to Fran. So Fran plus the title and here is the license. You can click on that license and it will tell you explicitly what the rights are. Okay, and then you have all the pieces. You can cite that correctly. So we're very big into citation conventions. We're developing new citation conventions for the world of openness. All of you know how to cite according to MLA or APA or whatever, right, and the bibliography. We're trying to add to your toolkit about how to cite open content. So, all right. Here's YouTube, same thing. The interfaces are a little bit different so you're gonna have to find the interface and find how to filter the content. But here under features, there's something called creative commons. Same thing, you type in tango because I want videos for watching people do the tango. But I want open ones that I can actually go in and edit or download or whatever. Okay, all right. So the key is repositories, finding these great repositories. Now at Quora, we have lots of information for you to train you in searching the web. So go to our website and we have up at the top, there's something called open. Click on that and it gives you lots of information about open education and websites. But I'll just give you one off the top of my head here. Merlot, it stands for multimedia educational resource for learning and online teaching. It's also good red wine. And it has lots of content, not just in languages, but in many different fields. So astronomy, for example. We're interested in world languages. And they have a team of editors that go through and then do what editors do. They sort it, they curate it, and they make sure it's good content. Okay, another option that I showed you yesterday. Oh, let's see, I'll click on this. Is nflrc.org. If you can't remember the URL, it's in this. This is the booklet that has all the National Foreign Language Resource Centers. And this takes you to our website. This is all of the resource centers, coral plus circle plus all of them together. And you can go up there and you can search for the content. So here we have all languages. We have a lot of languages here. I mean, you have lots of languages. We're focused a lot on producing materials for less commonly taught, so small languages. You can sort this database by the different authors, meaning the different institutions, coral or circle or whoever. Skill level, audiences. Elementary, higher ed, so forth. So in other words, I'm making a distinction. There's just open content. Then there are OERs that are already put together. How do you find them? You go to repositories like Merlot or nflrc, and there are many others. Go to our site and we'll tell you about other repositories. OER Commons is another good one. What is it? It's an example of Merlot. So they have a kind of a layout here and it gives you, here's something called Let's Tweet. This is an ESL, I think it's being used. You have ratings, so this is important. So you have some kind of an overview quickly so that you can assess the quality of it. One of the things that we deal with a lot in OER is that people say, well, this is great, but I'm not sure that it's really quality material. How do I know that the people have the ability to put this together? How do I know that it's authoritative of the content? Whereas I think, well, that's a great question. How do you know that Pearson, I just throw it back, has the quality because they're selling you a product but have you gone through and verified all that information? But anyhow, so the point is it's a real issue in the world of open and so places like Merlot have a vetting process, they have an editorial team. If you go to our website, coral.utexas.edu and just remember coral type ascent, we too are essentially a repository and then you can go to our tab that says materials and it'll give you all open materials assorted by our different languages. And if you go to the about button here, you pull that down and it has open, so that's the link for open education. I'm covering a lot of territory here and you might go back and take a look at this. So what are the benefits of the words in open educators? We work with lots of different kinds of people who are educators but we want to then kind of infuse our value system and they become open educators. This is Megan Schacht who is a curriculum developer for Parkland School District which is outside of, it's a suburban St. Louis and she represents something that's happening all over this country. School districts 10 years ago during what's called now the Great Recession were cut. Budgets all over this country were cut because states stopped funding education in a big way. And typically they defunded textbooks. In other words, if they're making a choice between, gee, will I cut salaries of teachers or will I just get rid of textbooks? They chose to get rid of textbooks. Textbooks don't go on strike. Textbooks don't have signs and now you're seeing all throughout the country teachers who are actually taking to the streets more power to them. But anyhow, so Megan contacted us and said, we don't have textbooks in our classes and so the money is not coming back to us. What do we do? And they made the decision at Parkwood schools to actually create their own curriculum from scratch which is huge and I said you don't have to do that. You don't have to become a publishing company. There's a lot of content that's already open and available and I showed her all of our OERs and I said some of this is for higher ed, you might have to adapt it but it's open, you can use that. So we are working with them, helping them build curricula in different languages. But and by the way, so this is just a representative of an example of what's happening throughout. Round Rock, which is a school district just north of us, about 30 miles, is doing the same thing. They said it's not, and this is interesting, it said Round Rock is a well to do fluid community. They have the money to buy new textbooks. The parents said why are we still buying textbooks in the 21st century? It was the parents who said you can do better than what the textbook companies are making, can't we? And the teacher said well okay, maybe we can. So they're creating their own content using all of this open content available on the web. All right, so another benefit of course is you can gain more visibility for your work, the whole world. This is a graduate student who we worked with and a professor Sergio Romero, and this is Inacio, we know him as Nacho. Nacho is a student in religious studies and Latin American studies and he works in Guatemala. And they finished a course last year, Quiche is a small language spoken, indigenous language spoken in Guatemala by about a million people. Publishing companies don't care about Quiche. They will never make money on Quiche. But it's an important language for Central America and so he is a member of the team and they finish this within a year we have 75,000 views of their videos. It's amazing. Primarily coming from Mexico because people are studying in the university systems of Mexico, Central American languages. So it's hugely empowering. He has finished a textbook, an entire curriculum with his team and in another, he's writing his dissertation right now so he will have a dissertation and he will have an amazing teaching portfolio, amazing. Here's another, I think Chantel you might recognize this person, right? Former student, one of your former students? Okay, so she says in her own words that what the great thing is you become part of a community. You can take somebody else's lesson and you not only have the object but you also have connection with the person. So you can contact that person. A lot of times the CC license contains information as well as a contact. You don't typically do that when you adopt a textbook from a publishing company. How many of you have actually contacted the textbook author? You might have but not often. And that's what we're trying to do is create this community so that we can share our ideas and our good. Okay, and you fundamentally are gonna reduce the cost for your students. Since we adopted or since we have in our department, the French department program, 14 years ago we started Francine Antéactif. It's up to $2 million we've saved our students. Two million sounds pretty good and so that gets the attention of administrators. So in terms of all these different benefits this has been the research is showing that we are really able to reduce the cost by using open materials. So Yerine is an instructor at a community college where it's important to reduce the cost. Some community colleges have gone in completely OER and say all of your materials have to be OER. So they're forcing their instructors to find. And so she created her own set of materials primarily for these financial reasons. And this was I think a course, what does it say here? Elementary Spanish for Health Professions. Okay, so there are a lot of different benefits and you can read more about them. We've also started this community link. We wanna give credit to all these members of the community and so I'm speaking to all of you now. So we give badges which are just this kind of token of accomplishment. And we give badges in different areas. So an ambassador badge is usually somebody who is out there promoting open education in different ways. And we just started this and people are then applying for them, there's a process to go through. Some people, for example, do reviewing. We don't have many names here, but we have a couple of them. They just started Robert Davis, Kate Paizani. They're people who are well known as applied linguists in our field and they've reviewed OERs. They've reviewed some flight OERs. I've reviewed OERs for other repositories. It's a thing. People review textbooks. They review materials, right? We have people who create materials so we wanna make sure that we give them credit for that.  A master creator badge for people who are like, I showed you Susan Strauss's work at Penn State. She's created a lot of content. I'd like her to be a member of our master creator badge. And then of course, people who are just teaching with this. It usually starts, you teach with OER and before you can create with OER. Okay, so let me wrap up here because I know people are gonna have a question. The last thing is the OER life cycle. So I've been talking about objects. Open education is not only about the products. OER, the products, it's also about the practices. The practices lead to a product. And so what are these, oh, I've mentioned, I've used a lot of verbs in my discussion, sharing is fundamental. The whole point is to create this infrastructure for sharing content. Adaptation, remixing, collaborating, mentoring, innovating, experimenting, researching, empowering. Students, interestingly enough, students should actually be part of this developmental process. You can use your students, test the ideas out on them, have them co-author materials with you, something that publishing companies don't do, but we can do it, it's more flexible. And showing gratitude, I mean, that's a very important part of attribution. It's not just you gave me this, but thank you. You gave me this, right? So there's an idea here that was kind of implicit in this whole, the video I showed you at the beginning of remixing. Somebody will call them an author, but that might be too pretentious because it just starts with an impulse. You have an idea and you have a pedagogical idea or you have a need. You wanna fill that need so you compose. You wanna put something together to fill the need. Just as Joanna said, there was a need in our materials and she wanted, or a hole, something missing and she wanted to fill it. She started to compose it. And after working with us, because she didn't start as an open educator, she kept thinking about copyrighted materials. I mean, I kept saying, no, look over here. She ended up publishing something. Well, now her publication is actually finding people. People are finding it. It's very helpful that it's finding its way into repositories such as Merlot, such as nflrc.org, such as Open Edge. At the first day, I showed you University of Minnesota's open textbook library so it gets its way into the networks. And then people then can pick it up and go beyond it, enrich it and remix it. And then somebody then can use or might find it and they start the cycle again. Oh, I like that text that she uses, but I wanna use it completely differently. So that's the concept of the OER life cycle. How does that literally take this main concept and superimpose it on flight here to come back to you? Because I wanna make sure that this all makes sense to you. So it really starts with the flight approach with finding a text. You may have a need. And then you go looking for a text. Or sometimes you find text first and then you think, oh, that would be cool. So, but it starts with a text. It's literacy based, it's text based. And then we've already gone through the stage of reading it for meaning and looking at the affordances of the potential of the text. And now you're in the process of designing, thinking about the stages, the parts of a lesson. And at some point you're going to produce it in some form, maybe just as a word document that you could copy and give to your students because this is a very important part. You wanna teach with it. See how does it go in your classroom? You're gonna get lots of feedback from your students. Parts of it they don't understand and then you'll rearrange maybe the order, the sequencing, you refine it. At that point, we want you to send it to us. And we will send it out to an editorial board. That sounds scary but these are people who are gonna give you professional feedback which is incredibly valuable. So it's not a peer review process and it's blind review. Remember I said we want you to develop a relationship with people who have themselves developed materials. The point of going through an editorial board is you're thinking of your classroom as you should but an editorial board will say well you can then make a couple changes and make it much more open for other people. So they're thinking at a larger scale. They're gonna help you in other words.  So the publication, there's an actual editorial publication process. So we want you to take this seriously and then get credit for it. This then can become a publication that you can cite in your CV, okay? And finally, hopefully it goes back to our archive, the grand vision of flight is that this becomes a repository. People can actually, and we'll have metadata so they can search it. Imagine this really cool website of literacy based OER that people can cite, that people can search in different languages and different levels and different grammar points. We can add metadata to it. That's the big vision. That people will take your cool lesson on the roof or easy German or whatever it is and keep it alive. You guys die, I mean your lesson will, there's a point of you where you can in this grand metaphor of biology, you can say I'm finished, I've done enough, I like what I've done, I've accomplished what I set out to do, but they can take it someplace else and they will. People have taken our materials in directions that we never thought. So that's the grand, grand metaphor of biology. And finally, end with this slide which is actually very important. So we're talking about new kinds of practices. So we're developing practices for citation and citation is good practice in education. So all of the slides here, if you've noticed, I was, they were taken from, and I've also, Sarah Sweeney helped me with this. So I cited Sarah, thank you Sarah, and I cite all the other people who've contributed that little life cycle image that came from somebody else's PowerPoint. I've got it documented, I get the link, I get the names and so forth, okay? Thank you, that's it. So, questions. We might take a break. Where are we in the break time? Okay, break time, we can have then more questions are. So we could do questions now and then break a break. How about take just a couple of questions now and then we're gonna take a break and then we're gonna have an application because what we were thinking of doing is now that you've got this concept of open, go through and identify holes or go through and think I need an image for that, you might wanna search some of the databases. Some of you I've noticed have interesting components but not all of them are open. So we have to think about strategies. So that's where we, at this point, we want you to start thinking about copyright and taking it seriously. So we'll go and visit you and talk to you about that. But do you have any questions before we stop for break and, okay. No, no, no, no, no, no, no, I'm gonna come in and talk to you individually. But in a general question about what I just presented. Okay, yes. Oh yeah. Talking specifically about the work that we're doing in this workshop, if our text comes from another source and we intend to use it in an open source, document later, what do we do in terms of citation with that? So you have a couple of options. If it's a copyrighted, we're talking about a copyrighted text. It's from another textbook, okay. So in that case, it probably doesn't exist digitally that you could easily access it. Does it exist digitally? Okay, so that way you could give the link, simply just the link. I would give a full citation, authors following like APA or MLA, something like that, and then underneath it gives the link for people, a URL so that they can access it digitally. And that's fine, you can do that. So essentially what she's talking about is we can create an open lesson around a closed text. That's fine, okay. That's absolutely fine. If it be helpful, because we're, I don't know if that's working or not, okay. We're gonna come around when you're doing the application portion, and if it be helpful for a couple of you where we can, we can also link you to some of the examples on the website where we've kind of overcome some of these same issues. And for you, I definitely have one in mind, but I think for many of you, we'll be able to find examples of workarounds that we've created for exactly these problems that you're grappling with in terms of it. Yeah. Let me say one other thing. So as you use these different objects from different sources, they all have different licenses. So if you're putting together something that's essentially a remix, you're mixing things together, you must pay attention to all of those objects. You must pay, so if you're using a flicker image and a video and a text, they all have different licenses. So that's where we're really focusing you on all of that. And then we have to choose a license for your lesson, okay? Yeah. I'm not sure to what extent this is still true, but when I was searching for materials, I started writing it, I don't remember, 2003 or something. No, later than that. Anyway, a while ago. In the past. Is that there are actually also materials that don't have any license. Because not everyone goes through the process of getting a CC license because they're not even aware of it and they don't. So then there is a gray area. And I don't know if you wanna talk a little bit about strategies for that. Yeah. So since like five, six, seven years ago, as I was saying, there's been a big shift. People are now understanding CC licenses, but it used to be back in the day that people would just create, when we created French Interactive, this entire curriculum, we just put it on the web. We had no, we didn't really think about copyright. It wasn't even something that we thought about. So Joanna ran into this problem about ambiguous content. What do you do when it's not licensed? A lot of times educators are putting it up to share. That was their impulse, but they didn't license it. So we want you to license it, to make it explicit to other people what their rights are. It helps other creators. Number one, and there's another reason I hadn't really, I hadn't mentioned this, is that those little CC licenses are read not only by other people on the other humans, but they're read by machines. So remember, it makes your OER findable by search engines. So that's a really important thing. But if you find this perfect object that doesn't have any license on it, we want you to try to contact that person and ask. And if they're an educator like yourself, they'll probably will say, yes, fine. But that's part of playing the game now. Yeah, Christian. I just thought of that in terms of finding texts. One of the probably richest sources is older texts. And I don't know how much you wanna use those, but anything that was published before 1923 is in the public domain already. So there's, in terms of literature, if you wanna even use canonical literature, big names, you can find a lot that's out there. So, yeah, something to consider. Yeah, that's a really important point. So copyright doesn't last forever in this country. So that's something to think about. 1923 is a, so I don't know the precise details, but 1923 was 70 years before they made an amendment to copyright law. So there are actually some things that could have been technically, that were still under copyright when a new copyright law was passed that allowed the owners of a copyright of some source to renew the copyright, which then would have made it. In other words, it's the safest bet. If it was created before 1923, then you're guaranteed. But I, for example, I teach Czech and a number of the, so copyright in Czech Republic is 70 years still to this day, so if they died more than 70 years ago, so right now, if it was published, or if the author died before 1948, then that's, is that right, good math? Yeah, so there, it's applicable for me to use. So it's a really complicated area. There are different laws in different countries. Some make it death of the author plus 50, some it's 70, and some it's more. So it's something that you need to look into, but it is definitely, and to make things even more complicated, sometimes in some countries, things are in the public domain and in other countries, they have not entered into the public domain. So there are works that are public domain in Australia, but not public domain in the United States. Right, right. So 70 years seems to be the magical figure in the US. It's always comes back, so again, that doesn't help you if you want to teach modern language and represent the society today, but historical works 100 years ago, they're fine, they're in public domain. Oh, that's great, that's a great point. Thanks for raising that. So there are these people on your campus, they're called librarians, and they, librarians are amazingly intelligent about the whole digital world. It's not just the books anymore, they know everything about open licenses, they're amazing. So we all thought that libraries would, libraries would die with a digital revolution. No, they just become digital. So they are the people to go to. I mean, lawyers, that's one thing, but they will help you find and search, and they're amazing. They're the people to go to. Okay, so let's take a break and then. I just wanted to say very super quickly, just as an example of this kind of gray area and contacting the author, the text for the sample text that we used, conversation number one. Actually, I was just searching for some kind of a dialogue that was in the form of a poem, even though I didn't know the genre of dialogue poetry even existed. And I came across this link and it's in this poetry archive and I kept trying to look for licensing and there was no indication of, I mean, there's actually an indication of copyright to the publishers of this site, or not publishers, but the hosts or whatever of this site. Anyway, long story short, I contacted them and I said I'm interested in potentially using this poem in an educational context. Could you give me the contact information of the author? And they connected me to her and it turns out she's a student of literary studies and linguistics. And she said, I'd be glad. Very happy to have you use my poem in your workshop. So I have permission from her. So sometimes it's actually a nice way of just contacting people who share similar interests and they feel thankful in a way that you're using your materials for good purpose. Okay, so take a break and then the next application, our next session, you'll be working, continue to work on your materials and your lesson, now you're at the lesson level and I'll come around and visit with everybody. We'll talk about copyright, okay?


I'm Sarah Zang with CalTV Sports, joined with three UC Olympians, Madison Cotun of UCLA, Kyla Ross also of UCLA, and Tony Ann Williams of Cal Women's Gymnastics. Tony, what an incredible meet for you. You went out there on floor, got a 9.90. What was going through your head as you were performing that routine? Just trying to keep the mindset, do it for a strong power for women. And I looked at my teammates and thought of all the incredible women on the team that I train with every day. That really inspired me to go out there and give a good performance. So Maddie, I understand you recently had a surgery on your shoulder. What has that recovery process been like for you? It's been a little bit of tough times, but I'm definitely excited to be back with my team and giving a lot of the credit to the coaches, the medical staff and my teammates because without them, I definitely wouldn't feed this far ahead in competing right now. Kyla and Maddie Zapp, since you have been competing in all four events and have been a source of consistent points, what has it been like doing all four events? It's been really fun to be able to go out and contribute on all four events for my teammates. Definitely worked hard and it was really fun to see new people in the lineup and just to have that new spark of energy was really fun. Now you guys all attended the Olympic Games. Maddie and Tony, you guys went to the 2016 Summer Games and Kyla, you went to the 2012 Games. What's the best memory you guys have from that experience? We'll start with Tony. Definitely meeting Usain Bolt. He was in the Olympic Village, he was the room below me. So every time I'd walk out on the balcony, he'd be like, hey, Tony, and I'm like, oh my God. Van Girling, hi. And then how about for you, Kyla? I think just being able to go out there and compete and represent the US was a great experience. I think it was really sweet to be able to go out and compete. And then Maddie? Yeah, I'd have to agree. It's always an honor to represent USA and a great, fun experience that'll take forever. Kyla, you have the title of being the first and only gymnast to hold titles of world champion, Olympic champion and NCAA champion. So what are you looking forward to accomplishing then in the near future? Definitely winning the team NCAA title. We saw last year what we were capable of. So I think the team realized that it is possible for us to be able to go up and be that first place team. So with the Winner Olympic Games underway, what's the biggest advice you guys have for these athletes?  It is yours and don't let anyone take away this Olympic experience or moment.  Maddie? I definitely have to agree with that. Just have fun and you've been working your whole life for this. So definitely enjoy the experience and take it all in. And Kyla, a quick tip? I definitely agree with both of those. Yeah, just enjoy every moment. Good answers. That's all for today. This is Sarah Zing with CalTV Sports. Thank you so much for joining me today. Maddie, Kyla and Tony. And to all the Winner Olympians, good luck!