 Just quickly I would like to thank the organiser of the event and the host for a really amazing time here. It's been really quite impressive to see all the presentations so far. So thank you very much to them. So I'm going to try to do it quite quickly because you've been going through a lot of presentations this morning. So now we're going to basically zoom inside these evil fences that are the schools. Now before talking about the kind of work that we're doing at the Pittsburgh Institute and the William DeConning Academy, I just want to make a quick overview of this problematic world that is open source. So very quickly, 1986 you have Richard Stallman who is basically doing his Stallman thing in his lab. And the legend says that they get a new printer and then the printer, the driver, he wants to hack the driver to do something but that he cannot do it so it gets very, very upset. And then because of that the rest of the history is the foundation, the creation of the Free Software Foundation and the GPL license. So in 1991, Linus Tolvard think it's a quite interesting project so he decides to use this license for the Linux kernel and then we know what happens next. 1998, someone else that is a bit in the dark, which is Eric Raymond, has write a book that tried to explain the ecosystem of Free Software production. And this is quite inspiring for Netscape who think that it could be some sort of exit strategy for their browser. And Raymond looking at how Netscape is using open source in commercial practices, well Free Software in commercial practices, decides with a few other people to not fork but kind of branch the Free Software movement into the open source initiative. And open source, the intention of course was to be more attractive to business people but at the same time to clarify this sort of confusion around the problematic world such as free and freedom. And the consequence of that is that suddenly this project and this intention, this way of working becomes more attractive to other field. So in 1999 you have for instance the first example of first steps towards a clearer articulation of open source hardware with the early open source core CPU project. In 1999 you also have something that starts to be a more diffusion into other cultural fields such as the architecture. So in 1999 already people are starting to talk about open source architecture. And then beyond that in 2001 you have Lawrence Lesig who also gets very, very upset like Stalman because he's looking at the internet and he's seeing this sort of, what he kind of called this sort of Sovietization, put that sort of Sovietization of the network. His fear is the media industry will start to lock down the resources and the way people are sharing online. And his mission is to provide a constitution for the cyberspace and this is done through the project Creative Commons. At the same time Wikipedia is coming in and they choose a Free Software license for their project. Later on they will switch to a Creative Commons license. In 2001 it's also the project FreeBeer because these things are getting more and more popular so artists think it's good for these open source stuff. So they make a FreeBeer project to try to communicate on this issue and it's also the birth of the free art license. And then things are getting even more and even more confusing with 2003 the birth of the open source yoga movement. So the open source yoga movement is basically a response towards an attempt from some yogi in the USA to patent some asanas or some yoga positions and to trademark them. And this is interesting because this movement is trying to make a link between open source and public domain which is not quite exactly this but it's a very good case of interpretation of open source in a broad mainstream context. But this even goes further with 2003 the birth of open source Judaism that was hinted by Douglas Roshkov in the conferences to try to explain how religions could benefit from open source. But it's also the birth of the open educational resources which is a sort of collection of documents that universities and academia try to share and put online so other people can reuse their course curriculum. 2004 open government, same stories. So we weren't interested in two open source but we understand it through the transparency approach so we think that it could be good for government. And 2005 Adrian Boyd is challenging the economy by trying to create basically some sort of physical fork bomb by creating a machine that would eventually print itself which is the reprap project. It starts to get quite messy so a few people start to get together and try to understand how this whole open source system is working which is quite difficult. So 2006 is the Open Knowledge Foundation is created to try to clarify some of these definitions and some of these licenses in a more broader cultural context. It's also the similar project is the Freedom Defined Project that attempts to clarify what is really free in Creative Commons licenses and other free and open source licenses or permissive licenses. And 2006 of course is also the first LGM event. 2007 you have the Open Handset Alliance which is Google's own approach to open source. It's a kind of second approach towards how to integrate open source in a commercial and commercial context. 2010 you have open source fashion but you also have open source Jihad which is a kind of sort of sub-branch of Al Qaeda who basically tried to have been trying to rebrand the anarchist cookbook under this open source Jihad that is found in several underground fanzines. It's also the birth of the open web which tried to borrow some of the openness of the open source mess into the internet through the promotion of Open Standard. 2012 it's also now the creation of the Open Data Institute in London so now we're moving into again further away from the original free software and open source intent towards more how should we license and how should we access large data sets. It's also the year where Difference Distributed is created. So basically with the combination of open source technology and 3D printing what some people are interested into printing their own firearms and it's also how they got kicked out from Thingiverse and then created the DEF CAD project. And now finally 2013 the William DeConning Academy decides to do something about open source. So looking quickly at all this history we can be a bit worried because how now do artists and designers within a context of education are going to interpret these questions. What kind of new things are they going to invent to again reclaim the word open source one more time. Well as it goes this particular project concerns the bachelors but in the true spirit of open source we're not going to start from scratch and in that sense we have a very good code base to start working with which is the Pittsburgh Institute. So the Pittsburgh Institute is the master program of the William DeConning Academy and it happens that we've been quite interested in the question of free software and free culture for quite some time already. More particularly the way the course is articulated is done through wiki, free lib and open source software quite important aspect given to research and generally do it yourself, do it with other ethos. So the wiki basically is quite central to the course this is where we put all the things it's not so much it's barely no moderation on the wiki which happens that sometimes you have some wiki wars going on between the students it's quite nice and we put everything on the wiki it's not a secret wiki it's public you can go there you can even create an account. The presence of free software is for the network media branch of the media design master is very important as we start usually right away or almost right away with an install party which allows right since the beginning to try to give the students some sort of mapping of what is free culture by understanding the relationship between Dibian, Ubuntu and other distribution and letting them decide what they want to try out. It's also the context that is quite interesting so we are teaching also version control tools for instance as part of a lot of software that is being taught in the course but we try to provide some cultural context to it because ultimately we don't want to make super fancy makers and designers who just make stuff for the sake of making stuff and they make it open for them for the sake of making it open we want to use free culture and free software as really a conceptual and technical tool to understand how technology and cultures are working today and this is why the research aspect and the critical studies influence in the Pittsburgh Institute is very important. Some of our students are using the wiki to dump some ideas for their thesis and also in terms of growing knowledge the wiki has become a place where you can find quite a lot of information bits of code and how tools and tutorials that are contributed both by the staff and by the students on the same exact level. So the point here is basically how we can connect this thing that was specific to the Pittsburgh Institute but to also make the whole William DeConning Academy Bachelor's benefit from this specific approach that has been going on for nearly a decade. Well first of all we've been starting to use the wiki as a first step between us to just work together and for instance this page is resources that we've been starting to write about what kind of workflows we could figure out for designing lectures and this is growing solely and eventually the wiki is going to be opened up to other staff and other teachers and the students of the academy as the program is getting developed. The program will be launched officially in 2013 the next academic year but in the spirit of release early and release often we are already implementing some aspect of it in the current program so for instance in Amsterdam December 2013 there going to be an event on the topic of free culture and the current Bachelor's graphic students of the William DeConning Academy are working on this event where they are being asked to develop an identity for this event to think about how to develop the communication strategies and this is going to be done at several levels including how to use free software to develop this visual and this communication and how to map free culture and communicate it to a broader audience. If we start to zoom in into the new curriculum that will start next academic year we have isolated three elements which is open design, data design and digital craft the way it's going to work very briefly is when the students are going to come in their first year for four years Bachelor's education they are going to choose a certain type of practice for instance graphic design and then year after year they are going to get increasingly specialized in a specific domain so for instance someone who decides to be a fashion designer could get a specialization in open design a graphic design student could get a specialization in data design so this is going to be extremely important and the last year of the Bachelor's is really going to develop a project specific to the specialization in five minutes, thank you. Hello my name is Diana I'm the coordinator of the Slippery Field Open Design at the Academy what we're trying to do is to investigate and explore what open design could mean for our curriculum and we specifically focus on physical products or product design or even other kinds of products and as not a focus point we would like to pay more attention to the whole idea of design sharing sharing products and sharing also processes online of course in order to let users make them relevant for themselves and another topic we're focusing on is digital fabrication of course open design as I said is a slippery field and it also raises a few questions based on for art education for the curriculum decoding two important paradigms actually one is of course ownership and within that field we are collaborating we have a collaboration with Creative Commons in the Netherlands and we are sort of like co-developing specific scenarios for designers how could they apply Creative Commons licenses and how and why another and that is of course for us the most important question is concerns ownership and specifically artistic ownership does there exist anything like open ownership or how could it be applied to our program so to be a bit more concrete some educational goals of our program include exploring the aesthetics and poetics of open design for the field of designing and art the other one includes investigating, analyzing and working with more new or older method approaches of open design and of course what it means to share design and your design knowledge and your products and on a more pragmatic level working with digital fabrication so quickly I'll explain to you one example of our program as of next year one product is called opening up the origins of things and departs from the idea actually that of course we are all alienated from products by mass industry and mass production so the idea is that students go to the scrap yard, find products, take them apart make them repair them, hack them, make their own new parts by digital fabrication and tell a new story about this product with their new design more or less the goals for educational goals are that students learn to re-appropriate and personalize and make accessible and shareable by users and also to learn about alternative mass production means that students will visit scrap yards, fab labs, hackerspaces and also traditional conventional factories some possible outcomes we hope to expect are well maybe personal improvements of the product of Frankenstein, Fritz Vincent or even a data visualization of the origins of this product that has been made new my name is Alder van Mier, I'm coordinator of Crosslab within the Willem de Koning which is busy with education around digital media for years now and I'm going to tell you a little bit about two other programs we are developing one of them is data design and so I'm going to be really short because we're cutting, we don't have enough time but data design is data are everywhere now and becoming the material for design actually within this program we want to focus on how to design for dynamic data so the amount of data explodes and continuously mobile media collect our data so mobile phones with software logs, cameras, microphones, RFID, tags, wireless networks social networks, etc. in addition to our own social data and the data which is generated by the media and everyone else, governments and local authorities are also opening up their data so I'm referring here to open data so you could say we live in a data dense world so we think there is a need now for designers who can shape and give meaning to this endless flow of data and so numbers, stats and figures tell us little but when you see them visualized in an attractive and compelling way the data comes alive and starts making sense to us so data design focus on finding meaning and stories in large amounts of data and then translating these stories into a meaningful visual or experience which communicates to an audience so, yeah, we go to digital craft so this is another learning trajectory within the Willem de Koning and I would... so digital craft is about crafts and about new tools and technologies new technologies such as 3D printing or laser cutting have changed crafts and design but especially the process of making has changed so we make things different now so digital craft is about change and how we shape our tools in an era where digital production technologies are commonplace the craftsman is now often romanticized and is seen as a person who works in a workshop with wood and metal however the relationship between technology and craft has always been there and so the pencil, pen, the kill and the loom sit alongside the computer the laser cutter and the 3D printer so all belong to a list of media technologies which were all at one point considered new so crafts relies on one skill to leverage these tools in order to push and form a material and next to that it implies that one can take ownership or master their own work process so digital craft is concerned with the appropriation of digital media technologies and appropriation is about learning the tools and retooling them so retooling means to adapt, alter and make them more suitable to their specific use and making progress I know I have to quit which is really a pity because I wanted to actually tell a bit of more examples we are actually developing within the education but so when you are interested maybe you should come to our workshop and then we can tell a bit more about the program we are actually developing and it becomes a bit more concrete I am going to try to wrap up in one half minute so basically there is this what has been presented by Alty and Dina but there is a core aspect also to all these course which is around the ideas of free culture, authorship, web, digital literacy and participation which all comes with strings attached but that is the point of trying to engage the students with them and we are not going to do that alone it is getting harder and harder to read we have built a sort of network of partners which is growing so we can do this not just in-house but with other people so Creative Commons in the Netherlands was mentioned but we also have Rhizome for data design and one is quite important is Mozilla because Mozilla is going to be the first time the WebMakers project is going to be partner of the course and they are going to give us feedback on the curriculum we are going to use the WebMakers tool and that also means that our course will be under a free culture license so we are going to have a mix of GPL CC by SC and CC0 for everything that is going to be produced within the course and will be put online on the wiki so in the end something that is quite important for us is that it looks like a mess and very focused on the academy but in fact we just want to be some sort of a node and let's see it again Years of training so that is the point to be a node so node implies that there is a network and that is why we are trying to do this sort of meeting at 230 ish today we need to try to build towards the network of free culture where educators are not in design and really figure out if there is really here enough people and willing to try to do this thing together so we can be part of a broader environment Thank you Thank you very much