 Hello, everybody. My name is Carl Blythe. I'm the Director of the Center of Open Educational Resources and Language Learning here at the University of Texas. And I want to welcome you today to our fourth webinar, fourth in a series of webinars for the flight project. Flight stands for Foreign Languages and the Literary in the Everyday. The title of this webinar is Publishing Open Lessons for the Flight Project. So I want to talk about Flight, the specific project that we're calling the Foreign Languages and the Literary in the Everyday, but also talk more generally about what it means to publish an open lesson. What does that mean to even call something open? So a quick overview of the presentation today, what I want to talk about. I'm going to start off by reviewing very quickly what I'm calling Flight Basics, where this all came from, some of the basic principles that we see in Flight. I don't have time to go over in any kind of detail of the original, the three webinars, but I'm just going to quickly summarize what I think are the basic principles. And then move on to the main issues, which are copyright, educational fair use, and CC licenses. Those are Creative Commons licenses, because it's really about copyright. To understand open education, you need to understand what we mean by open licenses. And then I'm going to talk a bit about how to find open content. Once you understand that content is licensed to be open, how do you find that open content? And then once you find all this different kind of content, how do you pack it together in a lesson, in a flight lesson and license it so that other people have access to it and can use it as open content? And then in terms of flight, our project, how do you submit it to us as a flight lesson? And then we can give you feedback. How do you incorporate that feedback and then finally have it live on our server for other people to use? So all of those elements will be part of the talk today. So let me start by saying a little bit of a narrative here. This, as you see a screenshot, is the cover of an OER. An OER stands for Open Educational Resource. An OER can be any pedagogical material. So it can be something like the textbook. It can be a grammar book. It can be something as small as a lesson plan. So they're big and they're a little OER. And this is actually an OER that was started by Joanne O'Looks at Cornell University. Joanne O'Looks was at the time coordinator of the lower division French program. And she had been using our French OER for first year French called Francais Interactive. And she called me up one day, a couple of weeks into the semester and said, I really like Francais Interactive, but dot, dot, dot. And this is actually, I've had this conversation with many other people who start to get involved in open education because that's usually what happens. You adopt a textbook. You adopt some kind of materials. And you start to see their limitations, the limitations of the materials once you begin teaching with them. And that's exactly what happened to Joanne. She said, I liked in general Francais Interactive the materials I was using. But and I asked her, please finish that statement, finish that you're worried there. And she said, you know, I find that they're just not enough readings. Well, actually there are plenty of readings, but they're not the kind of readings that I want. And as she started to explain to me the context of Cornell and what kinds of readings she was looking for, she said, you know, I want to help them do more textual analysis, not just literary analysis, but analysis because we have lots of texts in Francais Interactive, but they were mainly journalistic prose. And she said, yeah, I want different genres. I want them to play more. She had all of these ideas in her head. And I said, well, you know, the whole point of an OER, an open educational resource, is that it is open, meaning it gives you this affordance. You have the right to play with it, to extend it, to rework it. So since Francais Interactive is an OER, go ahead. You have my permission. It's open. So she started developing these really terrific activities. And I was very impressed by her ability to find things on the Internet, find these interesting texts, put them together in a way that allowed her students to learn about language and culture and literacy all in a package. And so we started essentially this project. She came up with the conceit, this notion of the literary in the every day, which we'll be talking about in just a moment, which was explicitly trying to find every day genres to talk about a literariness or this special playful quality of language that we could extend the boundaries and play with rules and so forth. And so she ended up writing, I guess, an activity for every chapter. There are 13 chapters in French Interactive. And so this now comes bundled as a standalone OER. This is a great example of what an OER is all about. It starts with an idea, but the idea is prompted by somebody else's idea. And now you can access this OER, L'Olythère dans le quotidien. We've given you the URL right below it. You can click and buy it, or you can download it for free. It now becomes part of this creative commons, which is a very important thing that we all share and that we all contribute to. So the point being that Joanna's work, Joanna's, I guess, really intellectual generosity, can hopefully fire the imagination of many other people who take part and participate along with her and along with all of us in what we are now calling the flight project. These are the key points of how I see flight. Flight is the acronym that stands for the foreign languages and the literary in the everyday. By literary what we mean then is essentially language play. That is, it's not quintessentially or traditionally literature. We're not talking only about canonical literature because you can find the literary, a literary kind of feel to all kinds of ordinary texts. So we wanted to move away from thinking only in terms of literary meaning literature. And then we partnered the literary with the everyday. So everyday genres can be, oh, email and memes and graffiti and the notion of the linguistic landscape, language is all around us, and so is the literary if we pay attention to that. We just kind of have to open our eyes. Now, Joanna from day one explicitly said she wanted to overcome this language literature divide, the Lang Lit divide that was one of her goals for her own lower division program. And again, she said that she wanted to bring some form of textual analysis into lower division. And it takes the shape of what we're now calling kind of a multiliteracy framework. So again, working on different kinds of texts to learn different principles of the language and the culture. So a text-based approach to language learning. Now, also I think a part of Flight Basics, if we have to boil this down to what is the essential kind of, what are the basics of this approach, Joanna and Chantel Warner at the University of Arizona who joined with us and myself, the three of us have been playing around with how to get at this notion of the literary that we're talking about. And as I said, we thought about it in the notion of language play. Play can mean different things, but in this sense it means taking what is usually the norm, the default, or what's often called in languages and linguistics the unmarked and pushing it out, extending it somehow into a different dimension. And it's usually then associated with creativity. So you're going beyond the conventional and the established to something kind of new. So language play, all the different kinds of sounds and rhymes that are in a text. Visual play, so subverting images or multimodality. Word play, grammar play, so you have a paradigm or using different kind of grammatical metaphors playing with the rules of the grammar extending them. Genre play, for example, when you take two genres and you mash them up and you create a new kind of hybrid narrative play, there are all kinds of different ways to tell a story stylistically. Pragmatic play, think of all the different kinds of things that we can talk about in terms of interaction, different kinds of speech acts, for example. Perspective play is also important in many different kinds of genres. So who is telling the story from what perspective? Symbolic play, we met usually what falls under the category of figurative language, so metaphors and metonomies. And finally, culture play, where they're pushing the boundaries of the culture in a particular way, as I say here, subverting cultural practices and products. Now, a text may not exhibit all forms of those different kinds of plays. It may have one or two, or you may choose as a teacher to use a text in a classroom to emphasize just one of those kinds of play. But that's what we mean by then literary in the context of this project, using language creatively in these different categories and using it within the boundaries of a text. So in Chantel gave a presentation in her webinar, she focused on the idea of putting this into practice or turning it into a lesson. So all of these different forms of play, how do you actually stage it in a classroom with students? And she gave us the example of a German poem, which I've given you in translation here. So everyone knew, many knew, most knew, some knew, a couple knew, a few knew, no one knew. And I don't, I actually removed the title, but her main point that she was talking about was, of course, this plays with the notion of grammar. It plays with the notion of genre, because it looks like a paradigm. And of course, that's a genre that's very well known to students in a classroom. So a grammatical paradigm. So we have conjugations, verbs, the verb to know, conjugated in the past tense here. And then we have the indefinite pronouns, it's a paradigm. So these are all words that share a kind of semantic trait here. So we're playing with the notion of a genre or in grammatical paradigms. And then we, she asked the listeners in the webinar to say, so what are the possible interpretations? Of course, they discussed the idea of knowing or not knowing in the context of historical memory. And since this was in German, of course, people interpreted through the lens of German history what could possibly be the historical events where people knew and didn't know. People obviously talked about the Holocaust. But not only the Holocaust, because that was also the point that the event itself was left unsaid. So there were potentially many different kinds of interpretations. So we're playing with the cultural framework there. Now, one of the points that Chantelle was making in her talk, her previous talk, was that you want to take a text, even a simple text like the one I just showed you, and you want to help students unpack it and you need to do that in what she called pedagogical acts. So this is borrowed from, this is a slide that she has borrowed from the multiliteracies framework. And you see we have different, like four different quadrants here, situated practice, transformed practice, critical framing and overt instruction. And it's circular. In other words, it's not linear. You don't have to start one place and then it's not one, two, three, four. But it goes around. And the other idea is that these are acts that you can kind of think about in terms of, like, bloom taxonomies. There are things that you do with your students. So if you give them a text, part of it will be familiar and part of it may be new. Transforming the practice means transforming the actual doing of the text. So you can actively, you can, once you understand all the parts of a text, you can then apply it to something else and you can have them write the text, write the genre or extend it to a new genre. Critical framing, that's focusing their attention critically on a text. So that they analyze it functionally, meaning they analyze the different parts of the text, how it all works together, and think about it critically. Who's saying what to whom, and what may be the power dimensions and so forth. Overt instruction is usually about giving people a meta language to talk about a text. So meta linguistic terminology. And here it's called conceptualizing by naming, conceptualizing by theory. But the main point here that Chantel was trying to apply was that we want to take apart a text in all the different layers of meaning of a text gradually. And that's what she called a pedagogical, pedagogical ax. So that's basically what we mean by scaffolding to a lesson. We take them through a text and have them read it many different times, not just once, but many different times. So let's get right to it because this is the main point. Now those are all the basics. And what I want to focus on here today is the notion of copyright because that's really pretty essential to the whole notion of open. So here I've given you the definition of copyright as a legal right created by the law of a country that grants the creator of an original work, exclusive rights for its use and distribution. This is usually only for a limited time. The exclusive rights are not absolute, but limited by limitations and exceptions to copyright law, including fair use. So a couple comments here, copyright applies to a country. Copyright laws are then different from country to country. So excuse me just a second. Okay, and that copyright laws in and among themselves are not absolute. There are many different exceptions to it. It's also highly dynamic because copyright laws can change. When there's new media that becomes available to us, we need a new law. And of course, one of the exceptions is this thing called fair use. So most people simply know copyright is the C in the circle. And of course, that's the logo that indicates that the text or the book or whatever the content that you have is copyrighted. And I like to draw people's attention to the three words that follow the circle because I think that really summarizes it well. All rights reserved. And this tells you that copyright is actually, when you think about how it's conceptualized, it's actually plural. It's a plural construct in that it implies multiple rights. And all of those rights then are reserved by the author and the publisher. The author and the publisher, it's like taking all their marbles and saying they all belong to me. Okay, so what we're trying to do is shift this notion of all rights belonging to the author and the publisher. And basically, we're going to talk about sharing those rights. But what are those plural rights? Well, you have the right to copy the original work. And this is the right that teachers break all the time. People violate copyright every day. So we see a magazine and we think, that would be a great advertisement. I want to use it in my classroom. And so we make a copy of it and we take it into the classroom. We violate the copyright law. And typically, when a teacher makes a copy, it's not just one copy. They want to distribute the copy to all the students. So they end up making 20 copies and passing them out. That's distribution, that's another right. In addition, then, the third right is the right to make derivatives if you wanted to go in and change the original work. So think about a song and you want it to go in and change the melody. And the last right, the right to sell the original work or the derivatives of the original for a profit. So imagine taking a Beatles song and changing a couple of notes there. And then repackaging it and trying to sell it to that. No, no, no, that's a violation of copyright. But anyhow, the point is copyright is actually multiple rights bundled together. So most teachers say, well, that's right. I understand this copyright, but I am actually using it for educational fear use. So what does that mean? Well, this is a good definition taken from Stanford Copyright. There are many places to go on the internet, but this was a really nice overview that I found. So in its most general sense, fair use is any copying of copyrighted material done for a limited and transformative purpose. Such as to comment upon, criticize, or parody a copyrighted work. Such uses came down without permission from copyright owner. So I put in red what I think the two most important points. It means limited and transformative purpose. What does that mean? Because most of the time, let's say if you were, you wanted to use a song in some of your materials that you were developing. Most of the time in a language classroom, for example, the original purpose of a song is to entertain. It's for enjoyment and here it is truly a transformative purpose and that what you're trying to do is educate people using this particular song. And in the case of a language teacher, it's usually something about the language, the vocabulary, the grammar, perhaps the culture. So that would cost, most of how we use media does fall under fair use because our purposes are in that sense transformative. We transform the original intent. We intend to educate people with the different media that we're using. But the real problem is then limited, this notion of limited, because when we play a song, we want to play the song in its entirety. It's not usually a verse or a line from a song. And most of the copyright law and fair use law says you're only allowed to use a small portion of an original. And that's really where people end up violating the notion of fair use. And people will say, well, and again, I should have prefaced this by saying that I'm not a lawyer, but I've talked to lots of lawyers here at the University of Texas about copyright law. And discussions of educational fair use, it really is a discussion about how to avoid risk or how to assess risk. And so it's true that you can put something that's copyrighted like a music video or some kind of video or a text. You can put it behind an LMS, which then is password protected. That still is a violation if you're using usually a work in its entirety. But you lower your risk because the chance of somebody finding out is going to be very slim. So let me ask you, are you keeping it legal? So imagine that you're this person. You say, I put all my copyrighted materials for my course on my school's password protected LMS. And that way, only my students can access the material. So I'm not really breaking the law, right? Wrong, you are still breaking the law. So as I said, because you're using the work usually in its entirety, that's where you get into trouble. You're using it in a transformative way. So a simple way to make sure that you're keeping things legal if you're going to use the full copyrighted piece of content is to simply link. So you can give people links in your Canvas or your Blackboard site, whatever your LMS. And that will keep it legal. But there's an easier way to just avoid copyright violations. And that is just to avoid copyright. Don't use copyrighted materials. And there is an alternative universe that's out there. And that's really one of our goals here at Coral is to tell people the good news of creative commons. The creative commons is conceptualized as this space that we can all share in. We are all creators. We create pedagogical content that could be quizzes or lesson plans or whatever. And we give back to this community, this communal space. That's the notion of creative commons. So we are explicitly creating just as Joanna did materials to be shared in this way. So instead of saying all rights reserved or the C in the circle followed by the words all rights reserved, we now have two C's in the circle that stand for creative commons, followed by this concept of some rights reserved. I'm going to negotiate the rights with the end user. I as the author or originator or publisher or whatever, I'm going to play with other people. So again, my little metaphor of somebody taking all the marbles and saying they're all mine. You know, we're going to say so they all belong to the group and we're going to play with them together. So one thing that often is confusing to people when we talk about the notion of open education and licenses is the word free. Because in some words, in some languages, the word open is translated differently. Libre or libre in French and in Spanish is the translation usually open. And so there are actually two senses of the word open or excuse me, the two senses of the word free here. What people hear when I say free is, oh, it's gratis. It doesn't cost me anything. But that's not actually true. It costs coral, for example, money to produce materials. It's certainly free sometimes for the end user. They're not paying anything. But actually, the central meaning for the notion of open is the notion of free as in it's part of your freedom. It's like free speech. And that is a silly little saying that's open educators talk about when they try to explain this concept of open licenses, it's free. Not free as in free beer, but free as a free speech. OK, so let's get right. This is the real crux of the matter is recognizing the different kinds of CC licenses. And they are, first of all, as you see, there are six different CC licenses. And they have these little icons here. And it's pretty simple, actually. If you'll notice that after the two C's in the circle, all of the licenses carry the word by. And that's in a little icon for a person that stands for attribution. So as others can copy, distribute, display, perform, and remix your work, if they credit your name as requested by you. That means attribution. So giving credit back to the originator. Now, please note that all CC licenses carry attribution. Attribution, then, is like the sine qua non of how we do things in education. We exchange our ideas. We play off of each other. But we're not here to plagiarize each other. We're not stealing ideas. We're sharing our ideas. People who originate some kind of idea or a concept deserve credit for that. So all of them, all these license carry attribution. Then we see the next license down. It says CC by SA. SA, and it has this kind of, I don't know, like in recycling, the kind of arrow that goes around in a circle there. So here, share alike means others can distribute your work only under a license identical to the one you have chosen for your work. The way I think this is a misnomer, it's better to say license alike. In other words, what this means is once you put that license on a piece of work, every other subsequent content has to have that license too. So it's license alike. Everything down the line must carry this license. In other words, I'm playing the game of open licensing. I want everybody who uses all this content to play the game in the same way. That's share alike. And then, let's see, you'll see it says no derivative works. The icon that has the equal sign there, and it says others can only copy, distribute, display, or perform verbatim copies of your work. So you can't change the work. It has to stay as it is. The work as it is should equal your copy. That's the equal signs. You can't change it. Okay, so you see, and then the next one, non-commercial, the very last icon there, this changes according to the cultural context. So of course, in the United States, we're going to have a dollar sign, but if you're in Japan, it's going to have a yen sign or a euro sign if you're in Europe and so forth, which brings up a point that Creative Commons licenses are international. They come in all kinds of different flavors, and so you need to be aware of that. So again, going down from the top of the licenses, so CC by means, CC just give attribution, that's all you have to do. You can use this work, but we want you to attribute it to the originator. Next down, CC by SA, it means you have to give attribution, and you have to share, you have to license all subsequent works in the same way with that CC by SA. CC by NC, you're allowed to copy and do all kinds of things with it, but you can't make any money, no commercial. The next one, CC by ND, no derivative works, okay? So you can copy and publish and do things with it, but you can't change it. And then three icons here by NC SA, so I want you to attribute it to the originator, no commercial, and then everybody else has to have this license. And then finally, CC by NC ND, no commercial, no derivatives, okay? So another way of thinking about this is how open, from completely open to not as open as, you know, not, you can see copyright to see in the circle is completely restricted all rights reserved to completely open, and completely open is something called public domain. So take the copyright and just exit out. So here you don't even have to give attribution. In fact, we may not even know who originated it. So there are works that will have a public domain sticker there. You're allowed to do whatever you want to with it. So another way of thinking about this is that it's really, there are degrees of openness to these different licenses. Now, going back to the original slide of Joanna's OER, the one that she wrote for her students at Cornell and that she in turn turned around and shared it with the world, that is licensed under CC by. So that's the most open, creative commons license. You're able to do what you want to with it as long as you give credit to her as the originator. So let me take just a quick break here and see if you were paying attention. Pop quiz. And I want you to write your lessons in, I want you to write your answers to the questions right here in the little box there. I'll give you a minute. So which license allows you to copy and publish, A, B, C, or D? And two, can a language teacher use a copy or a, let's just take the first one. Okay, let me give you a minute. What do you think? A, B, C, or D? So I wanted you to go into the questions box and you'll see you have a little chat box right there. Carol wrote A. So she thinks CC by allows you to copy and publish. Actually interesting to see the dynamics here, of course. So Lawrence is going to follow Carol's lead. So I have two for A, CC by. CC by allows you to copy and publish. Marcelo asks, Marcelo, you always ask good questions. What kind of publishing are we talking about? Yeah, well, I left that unspecified. So just, you know, imagine then the context of the classroom. So publishing on the internet to be used with anybody. Okay, I have a D. Kyle wrote D. And that's what I was actually. That is the correct answer, D. So let's just think about this. CC by, what does that require of you? That you give attribution. You can copy, you can publish, you can remix, you can do everything else, but you just have to give attribution. B, CC by in C means that you can copy and you can publish it to the world. Send it out there. But you can't put a price on it. It's non-commercial, right? And CC by in D means you can copy it and publish, but you're not allowed to make derivatives. You can't change it. So it's kind of one of those tricky questions. So A, B, and C, those licenses all allow you to copy and somehow distribute it, but it doesn't allow you to make commercial copies or to change the text in a new way. Let's try number two. Can a language teacher use the copy-writed text for educational purposes? Okay, I have a couple F. Everybody's writing C. I was kind of wishy-washy there. And of course, that's the right answer. It kind of depends on how you're using the copy-writed, because fair use puts some restrictions. And the restrictions that I talked about were it has to be limited and it has to be transformative. And I said most teachers transform the original purpose, but then they use the entire text and that gets them into trouble. Okay, so you're doing pretty well. Let's try one more, two more questions here. So which license does not allow changes to the original work? You're not allowed explicitly states, no changes. Okay, well I see a trend developing. D is the right answer because it says ND, which means no derivatives. And the symbol is going to be then that little equal signs there because you're not allowed to change it. What you start with is what it should equal, what you end with. So no changes to the original work. And the last question here, number four, do all CC licenses require attribution? Yeah, it's like I'm looking in this chat box here. So people go, A, bold on record, absolutely. And some people say, well, yeah, A, but I'm not quite sure. The answer is A, all licenses, every single CC license comes with attribution. As I said, it's kind of the sine qua non. You cannot have a CC license without attribution. I might have confused you because there's something else called public domain. That's really not part of what we conceptualize as CC licenses. It's just that stuff that exists on the internet that has no originating author. But all six of those CC licenses start with attribution. So they all ask you to do that. So that was just to kind of, I think you've got a sense of them. You can go to creativecommons.org and take a look. They have the licenses up there. And then they have it explained for you a little bit better than I'm going very quickly today. So now that you understand, OK, that's what CC licenses are, how do you find the content? Because the content exists because it carries a CC license. And so we want to make sure that people explicitly license their content so people know exactly what they can do with it. There's a lot of content out there that people intend to share, but it's not made explicit. So oftentimes you have to contact the author and say, hey, I found your great website. I'd like to use this, but is this copyrighted? So there's this great thing called CC Search. It is actually a page that you can find on the Creative Commons website. And what you have here are all these different search engines that search different kinds of archives all over the internet repository. But all these search engines are optimized to search only CC license open content. In other words, if you go to Google and you type in, you do a word search, you're going to get millions of hits and much of that, probably most of that will be copyrighted material. So this is your one-stop shopping place to do searching for open content or CC licensed content. And you can see you can enter them. You can filter it. I want something. I want content that I can use for commercial purposes or that I can modify, et cetera. So for example, there are all kinds. I got this off of Creative Commons. 9 million websites using Creative Commons licenses, but these websites themselves are huge. So YouTube, for example, constitutes a website. And there are 2 million videos, now more than 2 million videos, that are open or CC licensed. Wikipedia, 34 million articles that you can use are open. Flickr, 300 million photos. PLOS stands for Public Library of Science, 10,000 Science Articles. Wattpad is a great website all about different people writing stories, different kinds of genres of stories. And by the way, this exists in different languages. Everybody's sharing this with CC licenses. Scribd is an incredible website that actually takes documents from magazines and newspapers, so 50 million documents that are under CC license and so forth. Jemendo, looking for different kinds of songs. OK, so these are different places that these search engines will find content from. But let me just show you what this looks like with Flickr. If you just go to Flickr, in other words, you can go to CCsearch and do all of your shopping right there, or you can go to the different sites themselves like Flickr, which is a sharing site for images. And there you want to specify, you see it has a pull-down menu where you want to filter the different kinds of images and you indicate all Creative Commons licenses. So I only want images that are Creative Commons licensed. And so you're a French teacher, you want to look for Eiffel Tower, for example. And you're going to find out that there are thousands of pictures. And so here's just one example. So here's a photographer, Rob Lee. I don't know whether Rob is just an amateur photographer or professional photographer or whatever, but he uploaded this image. And take a look at this. He's named at Eiffel Tower at night. That's the title of this image. And he's given, he's licensed it. So it is a CC by, and then that little circle means no derivatives. You can't change it. So he's giving you the right to use this image, but he doesn't want you to go in and Photoshop it and change it. OK, so if you were to use it in your lessons, then you'd have to follow that particular license, the restriction that he's placed on it. OK, that's an example from Flickr. If you were to go to YouTube and you're putting together this lesson on the Eiffel Tower, you can also filter YouTube by Creative Commons. They have a pull-down menu there, the Eiffel Tower, Creative Commons. You're going to get, again, thousands of free videos shot, some of them professionals, most of them amateur. OK, now if you don't want to find content that's free and you're just looking for OER, then you can go to what's called a repository. There are many repositories around the internet. Merlot, a multimedia educational resource for learning and online teaching. Not just for languages, it's for many different kinds of fields. OER Commons is, again, a general repository. But Loro is a great place. This is out of the Open University in the UK. Language is open resources online. And what's interesting about this repository is you can look for something really granular like a lesson. They have lots of language lessons written by language teachers. UCLA language materials project, if you're looking for less commonly taught. But the mother load, I would say, is down here, the nflrc.org, which is all of the 16 National Foreign Language Resource Centers. We upload all of our content to this one repository. And we have a really nice search interface. You can look for reading materials or speaking materials. You can look for different languages. You can specify the proficiency level, et cetera. And again, that's for looking for OER, open educational resources. Now, once you, if you're writing a lesson and you want to license your lesson, you want to do that, of course, there are conventions, just like there are conventions when you're writing an academic paper and you want to cite an auth correctly and then you want to include the bibliographic detail. So it depends on what type of content you're dealing with. So books and journals. The convention here, as it says, include the relevant attribution information next to the CC work or as a footer along the bottom of the work on the page that the work appears on. And alternatively, you can list the CC works in the back of the publication. In other words, if it's text, you probably will end up putting it in the bottom of the page like you would a footnote or at the back of it's, if it's several pages long, your lesson. And that acts as like a bibliography at the end. Photos and images, we now have the convention of putting the relevant information right below the photograph itself. So on the edge, the bottom of the photograph. Slide shows include the relevant attribution information next to the CC work or as a footer along the bottom of the work. As you've noted here, all of these slides, we have given you permission because each slide carries a CC by icon here. Film, podcasts include the relevant attribution information with the work when it appears on the screen. If that's not possible, attribute the work in the credits. And then the podcast mentioned the name of the artist and that it's under a CC license, usually at the beginning of the podcast. Okay, so again, those are the conventions of how to tell people that you're using this kind of open content. And I gave you, even though we're talking about just these little icons here, what's great about them is that they're clickable and they can expand to more information. This shows you a CC by share alike. And it tells you explicitly you are free to share. That means copy and redistribute the material. You can adapt it, meaning remix, transform and build upon. And here's what you need to do, you must attribute and you must share alike and it explains all of that. And furthermore, each one of these you can keep on clicking it if you want legalese that will hold up in a court of law. That's also important. Then you can keep drilling down and it gives you layers of information. So, okay, now you've found all this great content and you've put it together in a lesson. And you've learned then the conventions. You realize that it has several different texts and they all have different ways of attributing it. You figured all that out, you put it all together and now you want to give it over to Coral. You want to participate in flight and here's what you do. You go to our website, flight.org. Go to the how to menu, pull it down and there will be under that menu a how to participate link. And that takes you here to this page. And you'll see there's a button for submitting a form or submitting a lesson, excuse me, submitting a text or submitting a lesson. The first place you should actually go is right here, the author template. You click on that and it will give you kind of a draft. This is a Google doc and it will prompt you the kind of information that we want you to fill out. So we want you to give your lesson a title, for example, lesson title, an instructional language. Okay, the text is in Spanish but what language are you going to be using in your instructions and so forth? So we want you to fill all that out and gather all that information and then once you do that, you can click on the other buttons then the lesson submission form and it's basically cut and paste all that information into that form and submit it to us. Now once we get it, we send it out to reviewers and we've just finished a review and I will be sending that out today to Marcelo, for example, who is participating. So we basically have editorial boards of expert reviewers, people who are applied linguists or language program directors and they are well versed in how to put together these materials. They will evaluate it according to a lesson rubric or a flight lesson rubric and then we ask them people to pay attention to the feedback that they've been given and then resubmit. So here's what the checklist or the rubric looks like. We evaluated according to the lesson structure, level appropriateness. There's a field that we ask you to fill out is this for college students, high school students, proficiency level, et cetera. Is the lesson well scaffolded or are activities sequenced in a coherent fashion and so forth? In addition, we ask then about the flight principles. Do you get your students to think textually? Meaning do you get them to think in terms of a genre and in terms of the thematics? Contextual thinking, do you ask them questions about background information and background about how the text is a cultural practice itself? And then literary thinking, the concept of a literary in the everyday, do you bring in this notion of these categories of play that we mentioned at the beginning? And finally, of course, open education. Do you know how to license? Have you paid attention to the license? Have you given attribution, so forth? So let me end by this. It's right on time here. The whole point of flight is to create a community of practice. Now, Joanna and I, going back to the very beginning, we created a dialogue between two people. But we really want to expand that dialogue to incorporate many more people. Instead of just having two language program directors talk to each other about these materials, we want to have lots of people, including graduate students and people from all over the country, help each other learn how to create these materials together. That's the real goal. We also are then trying to create this platform for publishing these goals. Because that's where we kind of add this value of a language resource center, that we can have people who understand how to publish this, put it on the server and how others gain access to it. That's the value that we can add to this endeavor of a community of practice. Ultimately, we'd like to have an archive of all these lessons, these lessons being based on authentic texts. And the lessons will be tagged with metadata so that you can search them. You can search by language, by genre, by thematics, and so forth. And finally, very importantly, now you know that the emphasis is on shareable content. So they have to carry open creative commons licenses. So our goal, of course, is to educate language program directors about open education and, of course, the importance of creative commons licenses. So that's it. That's what I wanted to talk to you today about. Yeah, Joanna raises a really good point. So let me direct your attention to what she says here in the chat box. Helpful to mention once again that folks can submit an open lesson for closed or open text. So obviously, I'm promoting the use of open content. But let's say you want to create a lesson around a text that is a copyrighted text. And you've chosen to do, I don't know, I'm using the example of a music video, something that's recent and that the students know. And that could get you, obviously, into a lot of trouble with the music industry. Because if it's a brand new, something that just came out and it's available on iTunes, then they don't want you, certainly, to distribute it to your students. So again, we want lessons for both open content, but you can also use closed content. In that case, we would just use a link to some place on the internet where you can access that content. So you would simply give the link to the music video if it's a copyrighted music video. Or a link to the copyrighted text, so forth. So we do accept both in spite. We don't want to limit it just to open content. But it's easier once you go down this road, as I talked to Joanna when she started to really brainstorm ideas. I said, you know, I was a broken record with her. I said, it's a great idea, but you're using closed content here. It probably exists as an open. You might find something that's similar. That's open, but yes, it's a good point to do both. Now Vivian has raised the question, what if we don't have a link because it's not available online? That's a great question, because 99% of it. So Vivian, I guess I'd like to ask you to give me more specifics. What are you talking about there? We might be able to turn it into a link or create content that you own around something, that you can't find online, for example, but you know is published. It's a print, a printed text. Chances are then you'll be able to find some information about the text. It may not be the text itself. That then you would have to give information about how to access the actual object that you are using as the content for a lesson. That's about the best I could do there. So I see that we are right at 3 o'clock, right on the hour. I will stay here for a couple more minutes to answer questions. But I really want to thank everybody for showing up. And if you do have questions that come to you after the webinar, you can certainly send them in. And please visit us at flight. That's F-L-L-I-T-E dot O-R-G. We have a big website full of information, including all four of the webinars that we've already given you. Thank you. And thanks again to all those who've participated. Natalie just gave you the link there, the URL. Yeah, and Joanna's raising another good point here. That this is really about professional development. And not just for graduate students, but for all of us who are in the profession to learn more about all the different tricks of the trade, how to access free information, open content, how to put it together in a lesson, what are the basic principles of a multi-literacy approach to language. So yes, it's great for all of us, but especially for graduate students who are working on putting together a portfolio. That's a great point. Thank you for reminding me. OK, well, I'm going to take off then. Thank you all for participating in being here today, and see you soon on another flight webinar. Bye-bye.