 Dryfus am y gallwn, gweithio i'n gallu'r teimlo eich enterod o'r Llywodraeth. Felly, rwy'n gynnig yma ar y llwyddeg yng ngryffredig. Rwy'n Lys Marrfen, yng Nghymru – rwy'n gilyddol yma ar hyn a oedd eich ffordd yma – ac rwy'n Llywodraeth Jiifhys, rwy'n gilydd ac i gydwch yn hyn a chi, C��wch. Fy enw'r hwnnw, i ran ydi pa iawn felly, ond arweithio i chi'n gweithio fi oedd yw'r granfyniad i'r gwirionedd y deiligol, felly mae'r ei wneud ymddorol i chi wedi wrth gynllun i'n gweithio i ni. Gweithio i chi'n gweithio i chi'n gweithio i'ch diogel o'r wgethau i yn yr ystyried y dyfodol bwysig ac mae'n hanes i eirio gweithio chi'n amhwyapio. Ie, ydw i'n gwasanaeth ymlaen o'r ysgol yma yn y fwrdd yma yma. Ddweud yma, a mae'n mynd i'w gwahodd iddyn nhw. Mae'n gweithio'r 4 o gwasanaeth ffyrdd ffyrdd o ffyrdd ar y cyfrifol wedi'i chyflod, sydd oedd ymlaen i'r ffordd mwy ystafell yma, mae'n gweithio'r ffordd mwy o'r ffordd mwy o'r ffordd ffyrdd ffyrdd, ond mae'n gweithio'r ffordd mwy o'r ffordd mwy o'r ffordd yn yr unrhyw. y ffordd a'r ffordd eich ffordd. Felly, mae'r ddaf yn y ddaf yn gwybod. Felly, y gallwn y cerdd yn y ddweud yn y gyfarithau'r cynyddiadau, rydych chi'n cael ei ffordd o'r ddweud yn y cyflawn. Rwy'n gweithio, rydych chi'n gweithio. Yr ymdweud o'r ddweud yn y cyflawn ymdweud yno'r gweithfeydd ac ydych chi'n gweithfeydd fel lle gan mwyri, a iddynt i gael llwy jeithas. Mae geni'r hyn yn wych i fynd i'r llwy gwylliant, mae'r llwy er mwyn yr llwy ar gyfer pob dros y cyfrifiadau yn lwyparu'n iawn mânain, a'r llwy yn gweithio'n meddwl yn y Cymru, mae'n f téfnal i'r cyfrifiadau sydd gen i'r llwy gŷn yr agel, ac mae'n gweithio ar lwyng. Felly, iddyn nhw'n gweld гweithio, yng Ngheil, dweud iechyd yn golygu o rydyn ni ar gyfer cael eu cyffredinol yn gweithio, a rydyn ni'n gweithio eich cyffredinol yn gweithio. Maen nhw'n ulgr i drfyn nhw, rydyn ni'n dflwy i gynon nhw, y newydd yng Ngheilau Fyrwyr i'r demnod. Fel fan hyn sy'n meddwl. Ac nid yw i bethau y cyrffredin ni'n bwysig i ddim yn gallu ddwy i ddim yn hynny'n eich cirol y dweud hyn. Johnathan Werthe, yn rhaid i ddwy gweithio o'r cyffredin ni'n dweud. He is currently senior researcher systems at Newcastle University Open Lab, and he's working on a project with the Duchenne Muscular Dystrophy charity. Although he's best known for his pioneering first open photography course at Coventry University, which he started in 2009. David Willits has described him as thought-leading, so we're looking forward to having our thoughts lead this morning. So please put your hands together for Jonathan. Thank you very much. You can hear me. That's great. So my talk is not going to be... Oh, hold on. Hands up if this is your first day. So you weren't here yesterday. So my talk is not going to be like Tim's, one of those very sort of glitzy and very organised, polished talks. It's going to be much more like my classes, which is sort of in beta. So I'm going to ask you to help me with this, if that's all right. So I have... Martin asked me to come and give some of the back stories to the stories of the classes and other projects, which I'm happy to do, but I'm also conscious that many of you will have heard them before. And so you might want me to talk about something else or just to drill into something else. And so I have like 70 slides, 70 odd slides, which is way too many to talk about. And so I'm going to kind of realign you. I have a narrative to sort of go through these. I definitely want to talk about one thing, which is this idea of vulnerability, especially in post-digital learning. But other than that, I'm free to go with what you guys want to do. So that's why I just screen-shared that, so... So, I don't know, let's get started. Two, there we go. So hands up, first day, sorry, again, first day today, first day. How many people spoke yesterday? So you're feeling pretty smug, right? You're feeling like it's all easy now. You can take pop-shots at the presenters. So if you just stand up, I know you did this yesterday, but if you just do it again for the benefit of the people, it's their first day, stand up and look around and say, introduce yourself to someone who you don't know. So if you just stand up one second, introduce yourself to someone you don't know. That's great. You've got to stop talking there, otherwise I'll get sick. Okay, so everybody knows everybody in Smithley. That's great. Thank you very much. That's most of my talk, I think. So thanks for bearing with me with that. I was always the kid who didn't want to put his hand up in class, so it makes it a little bit easier to put your hand up when you know that everyone else feels more or less the same way. So for the last 20 years, I've been a photographer. I'm a teacher now, but I was a photographer. You meet people, don't you? There are people you meet who have become way markers, points that you reference, you think back at they were important people, they stick with you, and I photograph lots of famous people, but they're probably not the way markers. They're not the people that I remember. And I was looking through for slides and pictures to talk about today, to talk about this idea of vulnerability. And I remember this shoot here, and we did this. Myself and a photographer called John Spinks, another photographer called Craig Austin, when we very first started out. I work with Craig now along with Kate Green on Phone Our Nation. We started out. We wanted to do something about adolescence, because for us it was fresh and it was painful, and we felt that we wanted to do a piece of photography about it. So we didn't feel as though we could talk about the experience of girls going through this, because we were three guys. So we went to a school and we photographed 150 boys in one day. 150 adolescent boys aged 12 to 16 in one day. It was pretty democratic in as much as we went through the... Went through, everybody got the same two minutes each. One, three frames, two minutes, next one, next one for a whole day. And Paul Smith saw this work. It was exhibited. If you bought it, it went all around the world. And it became an important first step. But there was one kid in that shoot who I've never forgotten. So I'll talk about him in a little bit. This is my Twitter handle at Jonathan Worth. If we don't get a chance to talk today and you want to continue the conversation, then let's continue afterwards. So I started out wanting to be a photojournalist. I wanted to tell other people's stories. You know, I was... I'd seen the Magnum Photographers, Robert Capper landing on D-Day, and the Marcus Bleesdale's of today, and the Tim Heatherington's who tragically died in 2011. But I wasn't made of the right stuff. And I ended up being an editorial photographer. I worked for magazines. But the stuff that I was most known for are the sort of pictures of famous people. But it's not the most work I did. Most of the work I did was sourcing stories and telling people's stories. Going to an editor and saying, you know, I think this is really valuable. This is going to be really interesting. People are going to want to hear this. And then telling that story for that person, because that person wouldn't be able to tell that story themselves. Back then, there were technological barriers to them being able to do that. You know, we were shooting film out. You had to have a very expensive camera. There was a skills barrier to entry, let alone actually being able to speak clearly with images to a newspaper or magazine. So that was my job. The first 15 years, it was speaking for other people. But that's kind of changed now. So my job also was, my business model was wrapped up in the mode of delivery. That was how I made money. No one ever paid me. The subjects never paid me directly. You wouldn't buy my photograph. You'd buy the things that my photographs were wrapped in, the newspapers and the magazines. Now, you know, when the internet started to thrive and digital came along, my business model started to collapse because it was tied to the mode of distribution. I started to see my pictures everywhere. They were abundant, but I wasn't able to charge scarcity prices for them. I couldn't stop the flow of images. And there was one particular moment which stuck out at the time. And it kind of defined the path that I was going to take from there on in. So it was a photograph of this guy, Heath Ledger. Pointed in my life, you know, a baby on the way, a new house, just moved into a new apartment, living in New York, things were OK, but weren't easy and things weren't getting any easier. And I got this break to photograph this upcoming actor and the shoot went really well. Spent a day with him, had a great time. I came out of it and the magazine just wanted to use two pictures, that's all they'd ordered. So it was just two pictures but a full day shoot. All of that was mine, mine to keep. But I let them edit digitally from the images online. It seemed to make sense at the time. Why send stuff down by a courier when I just worked out that I couldn't digitise this stuff and then stick it online for them to edit from? But of course it didn't stop there. And suddenly I started to see all of the outtakes, all the images, low res, all over the internet. And this was terrifying. I had no way of stopping it. This is the only way I was going to make any money out of this shoot. And so I had already began to dedicate time to trying to stop the flow of the images, trying to make my product scarce again. And I used to use the only tools that were available at my disposal, which was copyright. I became pretty efficient at this, I'm ashamed to say. I would write to people and I would say, you know, people have heard me say, tell this story before. No, each time I say it I'm trying to appease a little bit of the guilt, right? Just to get a bit of forgiveness. But I would sort of write to people and say, you know, do you think it's OK to steal stuff then? Is that all right, is it? So you'll be all right if I come around and steal your car, let's say. Is that going to be OK? What about if I steal your kids toys or your food that you're putting on the table? Will that be all right? Because that's exactly what you're doing to me every time you steal my images. You're stealing the means of me putting food on the table for my kids, having choices to the weekend. You're stealing that stuff. And when this one came around, when I started to see so much traffic going to this site that have Heath Ledger images on, I sort of went in there with all everything firing at once. And I didn't stop there. I gave it the whole lot. I was working through everything at this point. I got, you know, you're going to prison. This theft is something that you're going to go away for that. I was saying, you know what, and if you're a religious type, God doesn't look kindly on this sort of thing. So what I get back then is this, and I still shiver at the memory of this, is this weepy email from a 14-year-old girl somewhere in middle America who is traumatised because, you know, she's going to prison, clearly. She's got to tell her parents that she's a pirate, that they are probably going to have to mortgage their house in order to save her from going away forever. It doesn't get any better. And so obviously this was never the person I wanted to be, and I tried to diffuse the situation, tried to calm her down. I said, you don't have to tell your parents about this. Then I realised what I was saying, and I'm thinking, oh my God. This is now I'm getting really worried because this is in America and people have guns and their parents know about this. So I'm sending her stuff. I'm beginning to send her high-res versions of the shoot. I'm sending her images that I was getting ready for magazines that I was going to sell. The only way I was going to save my business model. And she posts them online. It diffuses. Everything's fine. She's absolutely made up that she's got all these great images that she can stick on her website, and I've got a new friend. But what I didn't clock at the time, but I did notice it subsequently, because I went on to the next shoot, I went on to the next thing, the next chaotic sort of trying to just survive, was that I started to see a huge amount of traffic coming to my new website. Then it was all coming from this one person. It was coming from this girl because it turned out that she wasn't just any Heath Ledger fan. She was the go-to girl for Heath Ledger. She was the trusted source, the one person that you go to who was harvesting all of this material, gathering it into one place, and then sending people out. And now we've come to this understanding. She was citing my name and she was telling people where to go and get the good stuff. I still wasn't quick enough to work out that I could sell stuff directly to these people. That would come much later. But this was a key learning moment for me. And trying to work this stuff out hasn't sort of ended. I'm still trying to work this stuff out now. And so I look around constantly for people who are doing, who seem to be doing a better job than me, who are actually trying to work this stuff out and being successful. And they're not photographers, almost never. This guy, Cory Doctorow, who many of you will know, is a science fiction writer. But I was, I had to photograph him for popular science magazine. And I photographed him and I did exactly what I was the standard issue. I syndicated the pictures through a syndication agency. Stuff was posted in the magazine. And 12 months later, I've made no money whatsoever from this. And so I went back to Cory and said, Cory, dude, I photograph you because you give e versions of your books away when you publish them. And yet people still buy the hard copies, right? So I'm giving e versions, effectively, the images of my photographs all the time when I can't get paid for it. And so we came up with this experiment whereby I'd take this photograph of him in his office, this portrait of Cory. And then we'd print out 115 odd prints. And we'd put them together with one page from his photocopied manuscript, each one signed. And then we'd put them on sale. This is, we'd put them on sale. I think the most expensive one was something like 150 pounds for number one. And then they gradually stepped down to the last 50 which were five pounds, something like that. And then here's the kicker. What he insisted, he insisted that I had to make a high-res version of the image available for download at the side at the same time. So this print, which you can go to this, to flicker now and download, is a meter by a meter. It's huge. And I was very skeptical about this. Everything that I'd seen in my business model so far told me that this would not work. That people would download the high-res version that would not buy it. But that didn't happen. There was in fact, there was in fact a fight for number one. And I realized now that economists call this price discovery, I think. I should have priced it ten times higher. There was a fight for number one and this fight went on and on. People wanting to know where the print had gone. Who had got this image? Who had got it? Some guy in Australia. And then there was lots of banter back and forth. Oh, you get all the stuff. You get all the ephemera. First time I'd heard this word ephemera. Didn't know what that was. And then there was a whole, they sold. All of the five pounds sold. All the expensive ones sold. I think numbers two, three and four went to the same person. But there was a chunk in the middle that didn't. So this was really interesting. And it made me start to, for a start off, I started using Creative Commons licenses. But it also made me understand that the photograph and the image are very different things. And stupidly, as it sounds, I completely haven't got this. I didn't really get it. This is, I'm going to skip over that. I didn't really get this until I was asked to teach a class. And I had to think about what I was teaching. So for the last 200 years, photography's currency, excuse me going on about photography, if someone's going to tweet to push me on to talk about something else, then I'm going to look. If someone's going to tell me. Photography's currency was evidential. Seeing was believing. And we accepted that. But there's been this paradigm shift. Photography's going through its second paradigm shift, actually. The first one was when it broke away from painting. It became an art in its own right. But now the image is breaking away from the photograph. The image is not about evidence. The image is about experience. And young people use it as readily as they use texting. Snapchat is a great example of this. I have every photograph I've ever made, negative and so on, all stored, filed, categorised, ready to go. The idea that you would make an image, send it and it evaporates is still anathema to me. But this poses a really interesting question for the photographer. And I think as well it's analogous to the teacher. And this is kind of where I'm banging on so much about photography. Because it is holistic in a way that I certainly see teaching. I think they have a lot in common. I was a conduit of that one-to-many information distribution as a photographer, an arbiter of meaning. I would have access to information that you would come from. You would trust me and I would deliver it to you. You would trust me because I was effectively a journalist. And the first time you lie is the last time you work. So I think teachers are very similar to that in the sense that they were conduits of that one-to-many information distribution and they were also arbiter of meaning. But we have a new landscape now. Everyone is a photographer. There is an abundance of information and access to it is democratic. So what is it that a 21st century photographer does? So I'm still trying to work that out. But at the beginning, 2008, I was reading... 2008, 2009, I think I was reading this book What Would Google Do by Jeff Jarvis and the book called Free, The Future of a Radical Price by Chris Anderson. And this book got me really excited. He says things in there like when you're building a website think of it as a platform. Think about how other people can add value to it. Think how people can build on top of it. And this kind of made sense because as a photographer I'd go around showing a sketchbook round. Excuse me. Excuse me. I find it much more effective to engage people. If they see a sketchbook, I show them a box of prints and then I show them a sketchbook and they say, wow, you know, they get a chance to be a partner of a project that's evolving not just the consumer of a project that's finished. And so I took that into the classes and took that into the way that I work now. And this is what Jeff Jarvis was saying. He was saying build something that other people can get involved in take ownership of and make better. There's a real problem if you consider yourself to be like the sole author of something. It's a bit of a, you have to get your head around that. But it was powerful. I mean, I tweeted that picture. I was brand new to Twitter. And Jeff Jarvis answered it, tweeted it and spoke to me. There was me reading a book. It was very intimate experience. Reading is an intimate experience, right? You get to have the author in your head for an extended period of time. But you never expect to actually meet them. I think that was one of the special things about the Caudi photograph. You never get to see the view that they see when they're making their book, when they're typing. You never get to see the desk they're at. It's part of the currency of that picture. But here it was. Jeff spoke back to me straight away. And it had a huge impact on the way that the class began to evolve. I stole this quote from a slideshow that I saw. I thought it was so awesome. So I just put it in there. So thinking about how the class was going to run, thinking about how the class was going to run, meant that I had to think about not only what we were going to teach, but how we were going to teach it. And I didn't have the answer. And just as I started out this presentation today, in the full knowledge that I can't do the polished presentation that Tim does and that other people do, and you accepted that and you are bearing with me. So when we started this class, I said I don't know what a 21st century photographer is, but I see some people doing some really amazing stuff. I think I'm beginning to understand what some of the questions should be. Can you work with me to find the answers? So I put the class on a blog. It was on a blogger blog site. It was me learning to blog as well. The first course, 11 weeks, was one post. You had to scroll down in for minutes at a time to get to the latest sort of add-in. It was dreadful. But people bore with me and we made that project a lot better. The second class, Thronar, photography and narrative, had the benefit of Matt Johnson joining it. He was a recent graduate, keenly into his photography, but had a much better understanding of the user experience as a learner. And so for me, he was invaluable. And together we began to build this photography and narrative class. And the class grew. The class grew from nine people in the room. From the first year, it was a brand new course. And over 10 weeks, we had 900 people join the class. That was on the blogger side. After 20 weeks, that's two years, the second iteration, we had 10,000 people come to class. And after the third year, the third iteration, over that 10 weeks, we had over 35,000 people come to class. And this was exciting. Of course, it was exciting and it was great fun. And I freely admit that I got swept up in it and was super excited about what technology was doing and what it enabled us to do. Martin Horksy began to map out, he's up here, our very own Martin Horksy, began to map out where the tweets were coming from so that they could visualise the class. This became a really powerful tool because we could start to see and we could dip into this. It's also brought up other questions as well. So every one of these tweets, when we tapped on it and had a look and Martin showed us how to do this, we could see who tweeted it, where they tweeted it from, all their friends, all this metadata. And suddenly it became the fact that the story wasn't what was written in a tweet. The story was the tweet itself. And then this speaks to what an image is because an image isn't a photograph. An image is an algorithm. The real story in an image is when you pop the lid off the top and you look inside. You see what the device was, where they were when they made it, all the other pictures they've made, all the other things they do. This is really powerful and important for a photographer who's working with images. And Martin taught me that with his Twitter sphere. So the other really interesting thing about this class was this Death Star. I mean, you guys know this. I'm not going to ask the question, what do we think the dark spot is in the middle? And everyone goes, I don't know. And I say, whoa, that's the class. That's the room at the back of the converted cinema in Coventry. And all those people around the outside literally aren't in the room, but they're interested. And this was really cool and it was great sort of showing off this. And it had a huge impact. It was great. It raised the profile of the class and the course grew and it afforded other opportunities, opportunities for networking, internationalisation. Each of us, each of us, we were disparate students in the class, all of us. Some wanted to be car photographers, others wanted to be photojournalists, wedding photographers, archivists. They could dip into the tweets. They could find out who was answering or commenting or retweeting them and they could make new connections. It became a super valuable research tool and it was covered widely. But this didn't stop because in that cloud of people weren't just Joe Smozen's students. They were professional. There was everything. You were... Sorry, we don't need to listen to that right now. You're a professional photographer. We can listen to it if you want. We can listen to it. It's cool. So now we can... There was everything. You just name it. Kidnapping people, shelling civilian quarters, bombs, torturing, electrical shocks, killing in the streets or killing in prisons or things like that. Everything. And I did not think that what I was doing was bad. So again, photography. Let's not lose track of the photographer's job. There are three people in every photograph at least. The photographer, the subject and the audience. The one person who is consistently the weakest is the subject. There is a duty of care for a photographer, as a journalist, to care for their subject, to protect their source. I see real parallels with that as my new role as a teacher. But one of the cool things was that there were professionals within this cloud and we were able to interact with them. So I would do interviews with... I would do interviews with a rock star photographer. I was still able to draw my network at that time of people that I was working with. And we'd do an interview. I'd record it at night and then we'd edit it. Me and Matt would then get it ready in the morning. We'd post it. We'd say, 9 o'clock today, we still do this. 9 o'clock today, we're going to be doing an interview with Dalia Camisi from the Lebanon and you can join it. You can join it. You can listen to it on YouTube. You can tweet your notes. You can join the class. Now, this is great and what happened inevitably is Dalia or whoever it was would see their name and then would start to enter into the conversation. Time and again, the rock star joined the class in that back room in the converted cinema in Coventry. I don't know of another way that we could have done that. But this year, Dalia got back and said that well serviced using this primary research, using Phonar before they interview her, which was again really exciting. Was everything you need to hear that again? So in that crowd of people, the vast majority of them are obviously not in the room. And so last year, I got the chance to work with a bunch of people at DML in California to build Phonar Nation and this is really interesting because I now realize that what we were given here was a pre-existing network. Seven cities were going to run classes during the summer for youth at risk, kids who were safer in libraries and community centres than they were at home. And they wanted to run free classes. They ran Scratch, they ran Minecraft and they wanted to run a Phonar version, a photography narrative, a visual literacy class and a digital fluency class, a class in which you could speak clearly with images, but more importantly, you could get heard. I mean, that's the thing now. The thing is, seeing isn't believing anymore, you have to be believed in order to be seen. When there is an abundance of images, when everybody's making pictures at the same time, how do you get your images seen? And so we designed this class to live on a mobile device, for a teacher who only has a mobile device which she will share with a class who have mobile devices or don't, which was a great, a really interesting exercise. And with those limitations, you find there are lots of things you can do because you can't do most things you would normally do. If that makes sense, perhaps it doesn't. So I'm going to whistle through this because... How are we doing for time? Sorry? What, see it? Okay, okay. All right, I'm going to whistle through this. So this was great. It had huge reach. We reached lots and lots of people but the point was, pre-existing network, that was really... That really kind of made sense. So... Hi, this picture is old. It's 2013. I didn't... What's this picture about? So I know that some of you have seen this picture before. What's this picture about? What's the first thing you think of when you see this picture? You're allowed to speak. You don't have to tweet it. It's okay. What do you think? What do you think? Eclipse. Thank you. Thank you. Yeah, it's regular level. That's what most people think. So one more. Come on. Reaching. Okay, so who said that? Sorry, say again. Cygni. Very good. So you knew that, didn't you? Okay, so yeah, these are migrants on the shores of Djibouti. They get a SIM card and they can... They can... They're really lucky they can get a signal from the neighbouring. I think it's Ethiopia. They're trying to get a signal. They're about to jump in a boat. This is the last chance to sort of tell home where they are or find out where they're going. So these obviously look like a bunch of young fit men. I don't need to show you a picture of a three-year-old boy face down on a beach. Do I? So the point was the thing that upsets me about this picture is that it's by one of my heroes, John Sammire. It's the fact that he actually took a photographer from New York to go to this beach to make this photograph to show us when these people are using smart devices to connect to the internet. They should be telling their own stories. And so, excuse me, and so last year I also got the opportunity to work with the World Press Photo Award. So the World Press is like a Pulitzer Prize for photographers and each year there is one picture, the one standout picture, that John Sammire was the 2013 picture that stood out. I imagine the picture I just mentioned will probably be this year's winner. Who is going to make another more impactful picture than that? But they run an academy. They've been running an academy since the 90s. Eight people a year get to win a place on the academy where they get to be trained by World Press Award-winning photographers. And the idea is to put something back into the world of citizen journalism. And so I reached out to them and said, you know, clearly this is awesome, it's amazing, but seriously eight people at a time? Really, what impact is that possibly going to have when we could flip it and turn it as open as the open classes? And they went with it and they went with it and anyone now can do the World Press Academy via Facebook. We turned that class from eight into 11 million in one go. Just like that. All the people, I like to think, who couldn't get into the class would get a chance to do that. So we have, before questions, we have how long? Ten minutes. Okay, so connected courses. There are people in the room that did connected courses. There were authors of connected courses in the room. Shout out to you, but now you are. But it's a great resource and somewhere that you might want to go if you're interested or you want to direct people to if they're interested in writing their own connected course. But one of the things that came out of this and in a presentation not dissimilar to this some years ago, it's 2013 in California. I stood up and give a talk where I was extremely excited about how many people we were reaching. This guy up here, I'm going to zap him. Nishant Shah asked me at the end of my presentation said, Jonathan, I'm imagining myself to be a 16-year-old student. What about my right to be forgotten? And I was completely flawed. I had no answer. I hadn't thought of it. I now wrestle with this more all time. And so this idea of privacy and trust is something that I am really sort of excited about learning more about. And so I asked these people to spend 10 minutes thinking about privacy and trust in open education. Audrey Waters kicked it off. And then I passed that 10 minutes on to Nishant Shah. And then I passed that 20 minutes on to Dan Gilmore. And then the 30 minutes I passed on to Ulrich Bozer, who wrote the book called Trust. And then all of that went to Corey Doctorow, who then reflected for 20 minutes. And then it went back down the chain. You can go to speakingopenly.co.uk to see this. And you can add your own as well. But what emerged from this was Audrey's idea and she kicked it off and she said vulnerability is essential to the learning dynamic. And I never really thought of that. You have to be vulnerable. You have to sort of say, you know what? You know more than me. I'm open to you teaching me something in order for there to be a valuable sort of learning transaction, if that makes sense. And then I started to think about the nature of learning post-digital. And these questions haven't really come up with my students. I was beginning to see that learning with the digital is now the default. There is no option not to be digital. We're connected whether we want to be or not. Our students are connected in all ways and whether the teacher chooses to be connected or not. The students still are. Fred Richins says, we've entered the digital age and the digital age has entered us. It's no longer a little past sunrise. It is 6.15 a.m. And I began to reflect on this. And the more I did, the more I realized that learning with the digital is default, but learning of the digital is not. In our rush, every time I get asked to do one of these tools, it's always, that's awesome. How do we do that? How do we do that? And it's like a rush to work out what technology does and to catch up. So that just in case we get left behind and it used to be that we weren't having a MOOC or that we didn't have an insert, whatever. But no one ever asks, what do you think this stuff means? And yet we plough on regardless. And I worry about the legacy of that. I worry about what economists call the true cost, the cost of something that includes externalities. Externalities of those side effects that we don't really want to think about. So we come back to the kids. Of the 150 kids, they started at 12 and they ended at 15. There was only one child that came through who asked, why am I doing this? Who are you? What's this for? Why should I do this? One child out of 150. And I bet you he's the one who didn't go to university. I hear working at university, I hear it again and again. Students come through and the first question they say is, what grades do we get for this? What do we get marks on for that? Which bits should we do? Which bits do we have to do? There is no option to challenge. Vulnerability is statutory in order to participate. My daughter just got her first email address at high school. She got her first email address at high school. She didn't get a choice. She was given it. It was firstname.lastname.yearofgraduation.school.uk. If that doesn't strike horror into the heart of everyone in the room, then I'm not sure what does. With that, I showed her. I showed how we could find where she lived within Clicks. Obviously we could find where she goes to school. We could find out where she lived. We could find out who she lives with. We could find out her mother's maiden name within Clicks. Externalities that we perhaps haven't thought about. And so that's just her email address. That's not all her learning data. That's not all her searches, her Google searches. The books that she takes out when she asks questions is not the food that she eats while she's at class. She now has to give a thumbprint to pay for her school meal. Who is going to find this stuff valuable? When they've got everything she emailed, every relationship she's had, every book she's looked at, every question that she asked, until she graduates, it probably won't be an employer. It's going to be someone, a healthcare provider, isn't it? Or a mortgage advisor or a bank or someone else. I haven't thought that stuff through well enough yet, but I am asking the questions, and I urge, when you're asked to show people what technology does, I urge you to ask the questions about what technology might mean. This is what I do in my beginning. If we've still got time, this is one of the things that's really good fun, and I do it with the classes. We get into a class, and before we start now, the first thing I say is, right, pop your phone out. This is for an iPhone. You can do this. I'm sure you already know this. But it is just to system settings, privacy, location services, system services, frequent locations, list of frequent locations, and then you click on one and it tells you how often you were there, where you were there. When I show this to students, they're usually mortified. Because the thing about location data is that it's some of the most valuable data that we have. In this study here, of 1.5 million people, it took only four instances of the person's location at a given time to identify 95% of the participants. And then I talk about associative mapping as well, associative mapping. So you may say that you don't want your picture taken in the class and you don't want to be tagged, but when everyone else is tagged in there, and your location data says you're there, obviously they're going to be able to map who you are. And so we then look at something called Take This Lollipop. Again, bear with me, I'm sure you're aware of it, but you just log in with your Facebook details and it then puts you into this horror movie where a stalker is looking for someone and they're trawling through Facebook and they come up with attractive fella, clearly a family man. Great with kids. Friendliness always a priority. But oh, pops your face. Of course it's my face here, on his computer. And then your friends. Now I don't actually do hardly do anything on Facebook and yet there are people in the room who are on this screen right now and then he takes you through. He basically this guy tracks you. He can see where you live. He sees all your posts. He sees all your friends posts. He goes to your house. Your picture is swinging on his dashboard. And at the end it ends with next person is somebody else from your friends list. So this is before we've started the open class. This is the data that people are already hemorrhaging by default just by bringing their phone into the classroom and by logging on to Facebook. This is before we talk about digital footprints, digital legacies. And we begin to co-learn what the consequences of inconsequential data may be. So I'm going to end now on these that I just have. So these are four questions I'm kind of asking myself. Have I enabled my class to give their informed consent? When we don't give people a chance when my daughter got given that email and told that she had to learn with the digital, that vulnerability was statutory vulnerability. In order to participate, you had to do what they were saying. There is no option for her to be using VPNs to be unhitching, to be spoofing forms, spoofing emails as I have taught her from the beginning. There is no option. She cannot participate in that school if she does that. When she hits 17, we suddenly expect them to be free thinking individuals questioning all these things. I regret having done that in the past. I ask myself, is there an equitable share of the power within and without the class? And if not, is this dynamic transparent? Do any of my teaching decisions constitute barriers to entry, such as engagement, geographical barriers, cultural barriers, technological barriers, linguistic or academic? And the final question I ask is, who owns our data? I just transferred all my domains and all my websites over to Reclaim Hosting, which is Jim Groom, Tim Owen's initiative. I urge you as learning technologists to research it, to have a look and see what you think about that. I've been given a finger, so that's the one minute. Yes. Okay, so I'm just going to share this one thing, because we've got one minute. This is the best thing that's ever come out of any of my own comparison. How are you? So technologically it's not that great, I suppose. But it was made by a 60-year-old girl who, one day, housed 30 of us, and she did it with a mobile phone at the top. La la la la la la la. It's long time to hold you hand over a candle in the house. So, he just introduced me, actually. I'm Mahabali from Egypt, and I'm going to meet you in a few minutes, but I'll ask this question so everyone gets to hear it. That question at the end about, does my teaching have any barriers cultural institutions are? That's something I'm guessing, and I'm asking how you go through that, and if you make those decisions, these are emergent decisions, and I'm not sure if there are things that you do in advance of the course, or if you just change them every time, every class? No, it's constantly responsive. You shouldn't... I didn't make that clear, so everything is very much in beta, constantly making mistakes and trying to respond to them, and I hope that they're not going to cost anybody anything. So when we did the World Press Photo Award Academy, that was running in North Africa, and it was in cultures that trust was something that had to happen face-to-face, and so it had to be... It was something that you get with a kiss or a handshake or a hug, right? Not over online, and so we had to work out how one gained trust online, and so we did some research and speculated that maybe there was some trust by proxy to be had, if we could involve cultural influences into the project. So I can't remember there, we did some research, it was like in Iran it was like a particular radio journalist, or it was a graffiti artist, it was a poet in one place, and by bringing these people in they've kind of vouched for us, just like the Heath Ledger Girl vouched for me, and so that was interesting, but also crucially they gave us, they told us the things that we needed to look out for. You weren't not at all? No, not at all. No, so everything had to be responsive, otherwise it was pointless. Yeah, thank you. Moira Meili, University of Western Australia. So has the horse bolted then, as far as privacy, is there any way of getting it back, retrieving it? Has the horse post digitally? I guess it's, I saw an article yesterday, what young people think privacy is. I'm sorry I don't have an answer for that question, I guess the point is I think that's a valuable answer to be open about the fact that I don't have an answer for that question, just as I would do with my students, and I would say what do you think privacy is then? So let's make this informed consent versus statutory consent. So let's talk about all of the things that might happen. So for instance, in one of my classes, in one of the classes we have one class in FONAR, which we go offline. It's a story where we learn about the gravity of the role of the storyteller. We talk about vulnerability and we say, you are going to have to hold someone else's story and show it to someone else when they're not there. Because as I said, the subject is always the weakest person in that relationship. They can't be in control of the context that their picture or story is going to be shown in. They don't know which page of the magazine or the newspaper, what's the title underneath. They don't know any of that stuff, so they trust you. And so if you're going to tell someone a story that is important to you, it makes you very vulnerable. And so there is an onus with the photographer, the journalist and I'd say with the teacher to look after that person at that moment. And so what we ask people to do is to say, tell this room, it's a closed room, what goes in the room stays in the room, tell the room a story that you haven't told anyone before. And there is no pressure to say anything else. Because if you've put this online, we've looked at the Twitter suite, we've seen how far it reaches, we've seen the impact. Because if you do then it will be out there and there will be no way to close it in again. But time and time again, if you look at that class in FONAR, Kate, what's it called, that session? I've forgotten. If you look at that session, you'll find time and again students using it as an empowering moment. Every year I had a student who'd been raped, who chose that moment to use it, to turn this thing that had disempowered her for so long, to turn it into a moment where she took control of it. It was, I dreaded it every year because every year it seemed to be just another catalogue. Of learning how I was the luckiest person in the room, not to have gone through the traumas that my students have gone through. Sorry, that's a long answer to a short question. Yes, the person with the long arm in the middle. Sorry, David. I recognise that question. Thank you. Have a daughter too. And was observing at a different stage, the curious stripping of identity that digital puts people through. In her case it was a first boyfriend who went out with him when she came home and took on a new role within the family. He was then texting and Facebooking and stalking her in the same way Google does. Very nice, friendly, normal boy just didn't have the barriers of space. And reconstructing, like you, we have students online who tell us everything, inappropriate, not appropriate, and who share everything. And we're involved in a whole rebuilding of identity every time we take a Facebook picture because we think we'll look good when we do a particular activity and we rebuild our bodies to look appropriate in pictures and stuff. Now that is an extraordinary dialogue we're going on with each other. And as you say, that vulnerability coupled with the fact that nothing is removable puts the whole identity of human beings in an extraordinary position at the moment. Yes, I think it does. There's two things that I respond to there. One is that, you know, parents will say, I've changed jobs now, parents will say, why should I study photography? It's exactly the question you should be asking, but when an internet which is visually led, being visually literate, it's really important. The idea of understanding what you're saying with pictures, when you put images of yourself out there, what are you saying with them? So being literate. The other thing I pick up on there, which reminds me of something that Lessig said, is that learning is a quantum experience for post-digitally learning is a quantum experience. And yes, my daughter too, and my son as well, we'll sit there talking towards texting someone else, listening to music and also playing a computer game. Much as the students during the classroom, I think that's a really interesting moment. People talk about it being distracting, but in the classes that we've run, we've managed to leverage and harness some of that attention, not all of it, some of that attention. And that's why the classes had such an impact. Because the compound nature of 30 people, all leveraging four or five different environments at once, with common purpose. I think it's quite scary, but it's all exciting as well. It's a great moment of opportunity for us to be a powerful voice of what technology has come to mean, I think. I think we're slipping by if we just end up being facilitators for what technology means and does. How do I use Moodle? Brilliant. Sorry, here. Yes, great. Hi, Donaldson. Great to hear you as always. Thank you for that. There were actually two talks I was interested in hearing this morning. One was yours, and the other was being delivered by Joe Johnson, the Minister for Higher Education at Universities UK, announcing details of the teaching excellence framework. And the resonance between the two for me was huge, especially in the latter part of your presentation about privacy. What do you think the implications are of something like the teaching excellence framework that would be based on various academic metrics for the privacy and the vulnerability in being a partner of the education process of academic staff and students? Is this a safe development? Is this something we should be critiquing? And how should we be critiquing it in terms of privacy? I was, so the tech sounds really interesting. I mean, I'm not an academic, right? You know, I still don't consider myself to be a teacher. I'm still noodling along, but I found the ref really frustrating because none of my work was appropriate for it, and none of it was valued. And I saw the tech from what I've been told about it as being exciting. Maybe that would be some sort of reward for people who are really trying to do something that is challenging, who are intrinsically motivated, who are doing it for intrinsic rewards. We're never going to get extrinsically rewarded for the work that we've put in as teachers to the value. All that time you don't spend with your family, all those sports days you don't go to, all that working in several different time zones, you can't pay someone enough to reward them for all that, but if you attribute them, if you say they did a good job, and if you give them autonomy, then that really does excite people who are intrinsically motivated and make them want to do more. But the question about privacy and what the ramifications of that would be, we have to have that conversation with the students, right? I think we should ask... The students tell me that they really enjoyed the class, or they want to do another class, or they turn up the class when they've actually finished it and come again, that tells me that that was a successful class. I did something right there. When they leave university and keep doing the classes, then that tells me that something here is right, and when they take the classes having left university and make their own versions, then that's really exciting. That I think is... That's my measure, but what it speaks to about privacy, I still don't have the answers, and that's why I'm putting the questions out. I'm beginning to be more aware of the questions. I don't have the answers. Thank you, Jonathan. That's a very good notion on which to end, and I think a talk that leaves us thinking about questions is one that opens up all sorts of possibilities. You've spoken from the heart, you've shown us some wonderful images and given us some very wonderful and powerful thoughts, so thank you very much indeed. I think we have five minutes to get to our next breakout sessions.