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E-Learning I, II & III – the Picasa Albums of the MA ODE

Fig.1. E-Learning I covers FIVE modules of the Open University Masters in Open and Distance Education

E-Learning I – MAODE Modules, include innovation in e-learning, professional practices, open learning and ‘creativity, innovation and change’.

E-Learning II Research Practices in use of technology in learning

E-Learning III The Networked Practitioner

Google offers a myriad of ways to share content, whether images or words, from galleries to entire conversations. with circles and hangouts. Unwittingly I’ve been part of their ‘game’ since the outset, an early adopter of Picasa having migrated from Flickr. I’ve not invited much in the way of sharing though I now have over 175 ‘albums’ some of which contain a thousand images (the album max). Many of these albums are closed, or linked only to key family members or friends as they contain family snaps or holiday pictures. Some now contain an archive of deceased relatives (a grandfather, father and mother no less). Others are concept boards or scrapbooks, not just of OU work, far from it … but a place where these snippets of ideas and moments will be for decades while the hardware changes or breaks down, or hard copies, albums and scrapbooks, get lost, or damaged (or both).

I have THREE e-learning album galleries of screengrabs and photos, graphic mash-ups and such like spanning the three years and nine months I’ve been on the MA ODE.

This current E-learning III album is taking everything from H818. It is in every respect an OpenStudio platform – if I chose to share its contents then people may, with various copyright permissions (creative commons) use and re-use the content – though plenty of it I grab as a personal aide memoir and is therefore of copyrighted material.

The value of these becomes greater over time – it is a short hand back into a topic, and in time, indicative of how swiftly things are moving. These platforms are leaking out into formal learning contexts; there could be a  tipping point, where someone or something happens that galvanises massive interest, say the ‘Stephen Fry’ personality of Twitter, or the Arab Spring of Twitter where J K Rowling or Tracey Emin open their galleries to the world. Meanwhile, without meaning to be unnecessarily derogatory, OpenStudio is the ‘sheep pen’ while Picasa Web Galleries or Google Galleries are the ‘market’ – the sheep pen is closed and local, while the market is global, open, virtual, connected and online.

Applying learning on the First World War with e-learning – some Kindle reading.

Fig.1. Applying learning on the First World War with e-learning – some Kindle reading. 

I believe very much in the process of pulling apart, opening out, expanding, then editing, revising and condensing. There is an applied ‘creation process’ here – the three diamonds or Buffalo system that I sense H818 is taking us through.

Fig.2. The ‘Buffalo’ system of opening up, the compressing thinking

These days it is easy to grab and mash any content on a digital screen, but where I have a book I will, in some circumstances take pictures rather than write notes, then quickly bracket and annotate this text before filing it in an appropriate album online – for later consumption.

Regarding CC I’m afraid as the music and movie industries have already shown people will do as they please even where the copyright is bluntly stated. Academia will require and expect that everything is done by the book – the rest of the world won’t give a monkey’s … ‘we’ll’ do as we please until there’s a legal shoot up or the ‘industry’ realises that it has moved on.

Regarding eBooks, Amazon are looking at and expect to be very much at the forefront of the evolutionary of the book. Google are competing in the same space.

‘Have we reached the Napster moment in publishing?’ a senior engineer at Amazon asked.

My head, content wise, is in another place, studying First World War military history. As never before on the MAODE or subsequent OU e-learning modules, I know have content to put into these processes. For example, ‘the causes of the First World War’ might require reading of a dozen books and papers/pamphlets starting with H G Wells in 1914 and ending with books appearing on tables in Waterstones this week. Courtesy of the Internet just about anything I care to read, at a price, I can have within seconds on a smart device … or overnight courtesy of Amazon.

Whatever my practice, this content is mashed-up in my head.

If I mash it up through screen grabs, notes, sharing in social media and blogging then this is another expressing of what is going on in my head – though controlled by the parameters of the tools and platforms I use – currently a wordpress blog, SimpleMinds for mindmaps, and ‘Studio’ for layering text and images over screengrabs i.e annotations. As well as what ever Kindle gives me in the way of notes and highlights.

This kind of ‘extra corporeal’ engagement or visualization of what is going on in my head with the content gives it an life of its own and an extra dimension while also re-enforcing my own thoughts and knowledge. I’m sure that I am rattling along this learning curve at a far, far greater pace then I could have a decade or two decades ago. Patterns are more apparent. And I am spotting too many misappropriated images too. The idea that you can grab a frame and relabel it is 100 years old!

Fig.3. How I filmed the Front. Geoffrey Malins

For example, the footage from the ‘Battle of the Somme’ is often ‘grabbed’ with subsequent combatants and authors claiming these to be original photographs of their own – they must have had access to the negative. This footage, as I am very familiar with it, is repeatedly put into films and documentaries completely out of sequence.

As reference above is correct – I find ‘grabs’ from the film footage and photographs taken by Ernest Brooks who accompanies the ‘cameramen’ around the Somme in June/July 1916 constantly claimed as another person’s own photograph or belonging to their collection. 

A false or alternative impression is therefore built up.

Then, across YouTube, sections of TV dramas and films are snatched and cut into a person’s own re-hashing of a different story. Harry Patch died age 111 or something – the last veteran. A tribute to him uses footage from the TV drama starring Daniel Radcliffe called ‘My Boy, George”.

Are we therefore seeing with text, stills and moving images what has been happening to music for the last decade or more – deliberate, and often illegal sampling and mashing, rehashing, exploiting of someone else’s work? If so what impact will this have on content in the future? Does too much of it start to look familiar, rather than original? Or does originality come out of this process too?

The conclusion might be that people simple sidestep the stilted, stuck, formal process of academia – where the sharing process is so desperately slow. The paper I read on use of audio and tracking in a museum I thought was reasonably current as it was published in 2008 but the technology used comes from a different era – 2003. Research done in 2006, initially submitted as a paper in 2007, published the following year.

An R&R department functioning like this would be left behind.

Knowledge must leak, must be shared sooner, and where those share a work in progress it should be commended.

Open Learning with the Open University – a modus operandi in the 21st century?

Fig.1 Posing for a scamp at the School of Communication Arts, 1987

H818 Activity 2.1

I will only publish in open access journals.

I’m not a professional academic. Should I publish then I imagine the calibre of the journal will count for something. As a professional writer (copy, scripts, speeches), with exception of blogging I am used to being paid for my words.

I will share all learning material that I create and own openly online.

From the moment I started to blog I have been part of self-help groups ‘publishing’ openly on everything from blogging to creative writing, swimming teaching and coaching, social media, the First World War and e-learning. My goal over the next year or so is to produce under a Creative Commons module a series of 30 to 1500+ micro- OERs, one minute pieces with Q&A attached, as what Chris Pegler terms ‘Lego Techno Bricks’.

I maintain an online social media identity as a core part of my professional identity.

It lacks professionalism as I don’t edit it or write to a definable audience but I have a substantial e-learning blog that largely, though not exclusively, draws on my MA ODE experiences (in fact I started on the MA ODL in 2001 and blogged on that too). I use Google+, Linkedin and Twitter haphazardly by pushing blog content to actual and potential commentators, participants and followers.

I take a pragmatic approach and release some resources openly if it’s not too much extra work.

I come from corporate communications where created content is closed to employees.

I have concerns about intellectual property and releasing my content openly.

Actual words of fiction I write is my copyright, Factual I care less about. Whilst a blog is largely like a recorded conversation, a formal paper would need to be recognised in the appropriate way.

I will share all material that I create and own openly online, as soon as I create it.

No. I cannot hope to earn a living or sustain my interests if I cannot both charge for my time and my output.

Mind, Metaphor and Neurons – are we hard-wired to be creative?

1. Are we hard-wired to how we conceptualise ideas?

2. Does this help or hinder the way we use eLearning tools?

3. Will children, say, 50 years from now, look at paper and pen in the same way as a person does now when they take a first look at computer?

4. Are we at some ‘transition’ point, and if we are, what does this mean?

My tutor in H808 asked me this on 12th September.

I feel far better able to reply now after four months of H808 and some fortuitous reading, though I did respond at the time. My forum thread exchange then and reflection on it today will form part of my ECA.

It surprises me that I have subscribed to a magazine at all, but I find the New Scientist offers plenty on our e-world upon which to reflect and insights to all kinds of other things that tickle my brain.

It matters that you read broadly.

The French Film Director Francois Truffaut was a firm believer of reading everything and anything that caught your attention. He’d have loved the web. It matters that you follow what the web offers, then browse the shelves for magazines at the newsagent on the forecourt of your station.

My favourite button that has been crucial to the longevity of my blog (elsewhere) for the last seven years is ‘Enter@Random.’

We don’t think in chronological order.

thinking is a mess, it selects ideas and makes things up sing different sides and corners and crooks and crannies of our brains. I unplugged the calendar on my diary in year one and replaced it with 12 themes that have now grown to 37. For a period there were 37 blogs, but try managing that, to say you end up with a split personality is an understatement.

My tutor put it to me (and us) the H808 Tutor Group:

1. Are we hard-wired to how we conceptualise ideas?

Dr Vilayanur S Ramachandran thinks so. We have a unique capacity to think in metaphors. This matters. It is this ability that makes us creative, allows us to be inventive, it is what makes us human beings.

Read all about in the New Scientist.

Quoted here within the 200 word count permission for a student quote.

Added as for student reading in a non-commercial academic context having read the copyright permissions.

Ramachandran is particularly interested in metaphor because it ties in neatly with his previous work on synaesthesia – a kind of sensory hijack, where, for example, people see numbers as colours or taste words. “Metaphor is our ability to link seemingly unrelated ideas, just like synaesthesia links the senses,” he says.

After spending years working with people who have synaesthesia, he believes “pruning genes” are responsible. In the fetal brain, all parts of the brain are interconnected, but as we age, the connections are pruned. If the pruning genes get it wrong, the connections are off. “If you think of ideas as being enshrined in neural populations in the brain, if you get greater cross-connectivity you’re going to create a propensity towards metaphorical thinking,” he says.

I don’t have synaesthesia, neither does Ramachandran, but he points out to me the strangeness of asking why, say, the cheddar cheese in your sandwich is “sharp”. It’s true, cheese isn’t sharp, it’s soft, so why do I use a tactile adjective to describe a gustatory sensation? “It means our brains are already replete with synaesthetic metaphors,” he says. “Your loud shirt isn’t making any noise, it’s because the same genes that can predispose you to synaesthesia also predispose you to make links between seemingly unrelated ideas, which is the basis of creativity.”

www.NewScientist.com.

Thomson (2010)

Of the 12 photographs in this issue as many as 8, I think, are from the Getty Image bank. I wonder if one day, especially if I’m reading this on an iPad the images will move, rather as the paints are alive in the background of a Harry Potter movie. It wouldn’t take much for a photography to video as well as, or instead of taking a photograph. Indeed, the BBC now permit directors to generate HD TV footage using digital SLR cameras … the lenses are better, the creative choices wider.

Interesting.

2. Does this help or hinder the way we use eLearning tools?

How we use the web, let alone e-learning tools is in its infancy. We are still putting old ways online, still making web-pages into slide shows and calling them immersive learning. Gaming may change this, with the budget. Better, faster tools will enabled more. Collaboration on world wide wikis with like minds, and great minds, contributing will speed up the rate of change.

We’ll think in the same metaphors though, share and reinforce new metaphors and then some Leonardo da Vinci of the 21st century will come along and break it apart. Though we may not appreciate their insights at all.

Mobile learning, smart-phone learning on the move, or whatever you want to call it should shake things up. At first this will be, and is, the same old stuff sent to your phone, basic card to card Q&A even if it includes a bit if video or an animated graph.

I want learning projected onto the back of my scull, I want it in my head, not online or in a device. I want interactions with specific parts of my brain. I want my brain duplicated so that I can take more lessons at the same time, to learn multiple languages and to take several degrees simultaneously.

3. Will children, say, 50 years from now, look at paper and pen in the same way as a person does now when they take a first look at computer?

It is extraordinary the relationship between our minds and out limbs, or arms and finger tips. With training we can sight read a score and play complex musical pieces, we can scroll, cut, edit, fly and colourise images into a piece of drama that has us crying, or heads in our hands and we can type, like the clappers.

We can draw too, and sculpt, and swim and dance and do gymnastics.

Our relationship with the nerves in our body is a complex one. As for handwriting, our relationship with fountain pens, marker pens and pencils? It ought to be a skill still taught at school, there need to be handwriting competitions as there once were … even if they are tied into art classes and design.

How different is a stylus on a tablet to a piece of chalk on a slate?

I implore my children to write and draw. An illegible Christmas list is no list at all. They’d type, they do type. Yet how backwards is a QWERTY keyboard?

4. Are we at some ‘transition’ point, and if we are, what does this mean?

Yes. And I mean to be part of it.

We have reached the Tipping Point.

A book a read if I recall in 2001 when we thought we were approaching a tipping point, actually we were reaching the point at which the first e-bubble would burst. First and last? These things go in cycles, whatever the politicians do to stymie human nature. Greed and regret, progress, reflection, reinvention … then we do it all over.

We’re not even less violent than we were at the times of the Viking raids.

Meandering? A stream of consciousness? Reflection? Regurgitation?

All of this, and it all matters. You don’t have to read it, and you probably haven’t. This is here for me to find when I need it in seven months or seven years time.

It is remarkable how your views change; so it matters to have what you originally thought in front of you. There are memories I have that haven’t just been reworked over the decades, but have become different events. This isn’t simply age, though that has much to do with it, I view what I did as a child or teenager as I observe my own children today, the difference is, I can’t influence the behaviour and actions of my younger self, though I can, I hope listen to and guide my own children to actions and decisions they will feel comfortable with in the years to come

REFERENCE

Thomson, H (2010) V. S. Ramachandran: Mind, metaphor and mirror neurons 10 January 2011 by Helen Thomson Magazine issue 2794.

Mind, metaphor and mirror neurons – and the impact on blogging

1. Are we hard-wired to how we conceptualize?

2. Does this help or hinder the way we use e-learning tools?

3. Will children, say, 50 years from now, look at paper and pen in the same way as a person does now when they take a first look at computer?

4. Are we at some ‘transition’ point, and if we are, what does this mean?

My tutor in H808 (Module from the OU’s Masters in Open and Distance Education) asked me this on 12th September (2010).

I feel far better able to reply now after four months of H808 and some fortuitous reading, though I did respond at the time. My forum thread exchange then and reflection on it today will form part of my ECA.

It surprises me that I have subscribed to a magazine at all, but I find the New Scientist offers plenty on our e-world upon which to reflect and insights to all kinds of other things that tickle my brain.

It matters that you read broadly.

The French Film Director Francois Truffaut was a firm believer of reading everything and anything that caught your attention. He’d have loved the web. It matters that you follow what the web offers, then browse the shelves for magazines at the newsagent on the forecourt of your station.

My favourite button that has been crucial to the longevity of my blog (elsewhere) for the last seven years is ‘Enter@Random.’

We don’t think in chronological order.

thinking is a mess, it selects ideas and makes things up sing different sides and corners and crooks and crannies of our brains. I unplugged the calendar on my diary in year one and replaced it with 12 themes that have now grown to 37. For a period there were 37 blogs, but try managing that, to say you end up with a split personality is an understatement.

My tutor put it to me (and us) the H808 Tutor Group:

1. Are we hard-wired to how we conceptualise ?

Dr Vilayanur S Ramachandran thinks so. We have a unique capacity to think in metaphors. This matters. It is this ability that makes us creative and inventive; it is what makes us human.

Read all about in the New Scientist.

Quoted here within the 200 word count permission for a student quote.

Added as for student reading in a non-commercial academic context having read the copyright permissions.

Ramachandran is particularly interested in metaphor because it ties in neatly with his previous work on synaesthesia – a kind of sensory hijack, where, for example, people see numbers as colours or taste words. “Metaphor is our ability to link seemingly unrelated ideas, just like synaesthesia links the senses,” he says.

After spending years working with people who have synaesthesia, he believes “pruning genes” are responsible. In the fetal brain, all parts of the brain are interconnected, but as we age, the connections are pruned. If the pruning genes get it wrong, the connections are off. “If you think of ideas as being enshrined in neural populations in the brain, if you get greater cross-connectivity you’re going to create a propensity towards metaphorical thinking,” he says.

I don’t have synaesthesia, neither does Ramachandran, but he points out to me the strangeness of asking why, say, the cheddar cheese in your sandwich is “sharp”. It’s true, cheese isn’t sharp, it’s soft, so why do I use a tactile adjective to describe a gustatory sensation? “It means our brains are already replete with synaesthetic metaphors,” he says. “Your loud shirt isn’t making any noise, it’s because the same genes that can predispose you to synaesthesia also predispose you to make links between seemingly unrelated ideas, which is the basis of creativity.”

www.NewScientist.com.

Thomson (2010)

Of the 12 photographs in this issue as many as 8, I think, are from the Getty Image bank. I wonder if one day, especially if I’m reading this on an iPad the images will move, rather as the paints are alive in the background of a Harry Potter movie. It wouldn’t take much for a photography to video as well as, or instead of taking a photograph. Indeed, the BBC now permit directors to generate HD TV footage using digital SLR cameras … the lenses are better, the creative choices wider.

Interesting.

2. Does this help or hinder the way we use e-learning tools?

How we use the web, let alone e-learning tools is in its infancy. We are still putting old ways online, still making web-pages into slide shows and calling them immersive learning. Gaming may change this, with the budget. Better, faster tools will enabled more. Collaboration on world wide wikis with like minds, and great minds, contributing will speed up the rate of change.

We’ll think in the same metaphors though, share and reinforce new metaphors and then some Leonardo da Vinci of the 21st century will come along and break it apart. Though we may not appreciate their insights at all.

Mobile learning, smart-phone learning on the move, or whatever you want to call it should shake things up. At first this will be, and is, the same old stuff sent to your phone, basic card to card Q&A even if it includes a bit if video or an animated graph.

I want learning projected onto the back of my skull, I want it in my head, not online or in a device. I want interactions with specific parts of my brain. I want my brain duplicated so that I can take more lessons at the same time, to learn multiple languages and to take several degrees simultaneously.

3. Will children, say, 50 years from now, look at paper and pen in the same way as a person does now when they take a first look at computer?

It is extraordinary the relationship between our minds and out limbs, or arms and finger tips. With training we can sight read a score and play complex musical pieces, we can scroll, cut, edit, fly and colourise images into a piece of drama that has us crying, or heads in our hands and we can type, like the clappers.

We can draw too, and sculpt, and swim and dance and do gymnastics.

Our relationship with the nerves in our body is a complex one. As for handwriting, our relationship with fountain pens, marker pens and pencils? It ought to be a skill still taught at school, there need to be handwriting competitions as there once were … even if they are tied into art classes and design.

How different is a stylus on a tablet to a piece of chalk on a slate?

I implore my children to write and draw. An illegible Christmas list is no list at all. They’d type, they do type. Yet how backwards is a QWERTY keyboard?

4. Are we at some ‘transition’ point, and if we are, what does this mean?

Yes. And I mean to be part of it.

We have reached the Tipping Point.

A book a read if I recall in 2001 when we thought we were approaching a tipping point, actually we were reaching the point at which the first e-bubble would burst. First and last? These things go in cycles, whatever the politicians do to stymie human nature. Greed and regret, progress, reflection, reinvention … then we do it all over.

We’re not even less violent than we were at the times of the Viking raids.

Meandering? A stream of consciousness? Reflection? Regurgitation?

All of this, and it all matters. You don’t have to read it, and you probably haven’t. This is here for me to find when I need it in seven months or seven years time.

It is remarkable how your views change; so it matters to have what you originally thought in front of you. There are memories I have that haven’t just been reworked over the decades, but have become different events. This isn’t simply age, though that has much to do with it, I view what I did as a child or teenager as I see my own children today, the difference is, I can’t influence the behaviour and actions of my younger self, though I can, I hope listen to and guide my own children to actions and decisions they will feel comfortable with in the years to come

REFERENCE

Thomson, H (2010) V. S. Ramachandran: Mind, metaphor and mirror neurons 10 January 2011 by Helen Thomson Magazine issue 2794.

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