 Allow me to talk about e-teaching, e-learning, and e-research, where teachers and learners become co-creators of academic texts in these digital times. I'm fortunate to be able to teach with UP Open University designed to be in the core of open distance e-learning. In 2001, we have noticed that academic texts in hard print as gun hypertext, visual text as hypermedia, and audio and moving images as hyper-multimedia or rich media. And we have been migrating to the internet. After weighing its pros and cons, UP Open University has decided to get into online learning to enhance the learning experiences of our students and to reach more Filipinos here and abroad. So today, our students come from over 60 locations in more than 40 countries across the globe. UP Open's creation also coincided with the inception of the internet in the Philippines. From the time the university was established to the time the internet took off in the country, the university has not invested much in physical infrastructure associated with earlier models of distance education. This made it easier for the university to get into online models of delivery and digital mode of printing like print on demand. And in 2007, we adopted resource-based learning as an approach to course development. And the internet was a rich source of open educational resources, and we decided to top on this for our courses. We were also aware that to participate in the Knowledge Commons meant that we needed to be producers and contributors of OER, and not just mere consumers. We also believe that we have the responsibility to tell and share with the rest of the world the Filipino perspectives, narratives, experiences, and solutions, and this is the part of move toward sharing and respecting cultural diversity. This is part of participating in what we call as cultural dialogues. And so the establishment of UPOU networks came about, a web-based station, where we share our educational videos, and in addition, we have conducted a series of workshops to craft policies that will guide the university in the creation, utilization, and distribution of OERs. To further expand our reach, but under the university's mandate of public service and extension, we offered in 2013 the first massive open online course MOOC on Android apps development. And this was followed by many more MOOCs, and we have collaborated, networked, and partnered with different institutions for course development and production. O'Dell ushered in the greater concern for openness, and UPOU's engagement with MOOCs, massive open online courses, which are free for all to enter and to call for higher education to endorse the use of open educational resources. OER is part of a movement for openness, for sharing free in its MOOCs, in our massive open online courses, which we call MODEL. This type of OER should have original text and must use OERs as references as well. An online course is not automatically OER, or an OER is not necessarily a course. It can also be just a material, a photo, or an essay, or an article, or a podcast, or a documentary, or a video informational material. We are hoping to have many more MODEL courses and MOOCs, and now we are producing Master Voices as OER. This will be sharing of ideas coming from national artists, national scientists, professors, emeriti, and also the university scientists and university artists for general education courses. MODEL is also being studied for credit to be accessible for all faculty and students of all SOCs and HEIs. I'd like to share with you my courses to be more specific. Very quickly, this is this form that is some way we do want to adapt, and for many other courses that we have, and for my courses are in this mode, but the rest of my courses on theory are mostly interactive print with sprinkling of video references, links. They are links to video references. So like in my course, MMS 111, Gender and Multimedia, I would just take my courses as an example here, and in the Multimedia courses I teach, for example, on top of theories, principles, and production, I consider my classes as research classes as well, and this contributes in ushering in new knowledge in our discipline. I facilitate the maximum exchange of ideas among my students through online forums, and students submit their papers and multimedia requirements online and conduct and disseminate their research using multimedia approaches and formats. I do immediate feedback and give both qualitative and numerical assessment, and our students are considered as co-creators of academic texts. If you Google MMS 111, Gender and Multimedia, you'll be able to access the videos that were produced by my students, and I teach while I've been teaching multimedia as research and have pushed the thickening of the discourse on gender and multimedia, and I've been teaching this course since 2008, and there are more than a thousand videos that are there lodged in YouTube and Vimeo available for access. UPOU had to prepare faculty members by doing training and workshops in course writing, instructional design, and be familiar with virtual learning management systems, our my portal, and the virtual class room. In addition to training, we have also conducted roundtable discussions, as I said earlier, and where we share with each other our teaching learning experiences and practices. I will just take my courses again in the multimedia courses I teach on top of theories, principles in production, and pushing again research. I facilitate the maximum exchanges when it comes to disseminating the research and multimedia approaches. This, not daily, not weekly, but probably three times a month, to be able to have time for my students to chew on the materials and for them to come out with papers, synthesis papers, and also reflection papers. I also tap the social media, like YouTube and Vimeo, to conduct exhibits and festivals for my students, to elevate their works for public discourse and have feedback from the communities of practice, mandating my students to produce only original texts and elicit reflective thinking from my students. I have also produced video lectures of my own that are accessible at the UPOU Networks and also as OERs in rich media. I give them relevant guide questions which they can ponder on as they engage with the course materials. As you can see, my students and I go beyond the use of our LMS, which we call my portal, and beyond the online forums, chats, video conferencing, and the course guide and resources listings. It is important for my courses to be preserving and promoting multiculturalism and cultural heritage through ODEL. Let's look at the latest course that I have been developing, and it should not be past tense because the course development is a dynamic, continuing experience that is the core of helping expand and enhance ASEAN studies as a whole, and particularly my course art in ASEAN region, which is ASEAN 222. The aspiration of the ASEAN perspective of ASEAN studies mandated that the course materials developed and the others to be developed carried with it the authentic voices of the different and diverse cultures of the region. The use of written words alone may not be doing justice to the need for authenticity and the capturing of the true beat of the art and culture of each nation. The course has started with videography, with the main author as a videographer. Of course, we have our multimedia crew and staff and our artistic staff to be part of it, and some of the artwork and artists and other players in the art scene of ASEAN region are all involved in doing these documentaries. It is most important that the authentic voices of the artists, art critics, cultural sociologists, the anthropologists, art curators, art traders, art patrons, national and local cultural officials and other stakeholders in art and culture are captured in the video. This automatically reproduces academic texts, orally and visually, putting forth the importance of developing and strengthening other forms of literacy as in orality and visuality. This is most crucial, as we would like to show the uniqueness and the diversity of our cultures and identities. Our region's respect for our diversity of cultures is our richness and our strength as ASEAN. Here are some excerpts of the documentaries produced for the art in ASEAN region. For the first process, we put the wax on the basic molding of the pencil like this one. You have to sew to make this seal, you know. This temper combined with the palace, the palace is the other side. National artists, there's a form of healing. There are also authentic Vietnamese operatic songs telling the story. Outstanding unique cultural art space, which is famous in Vietnam and the world. In the 13th century, that pottery first appeared in Phu Lung. Lim village of Bac Ninh province is the hometown of Quang Ho folk songs. It's famous for being made from completely natural materials. It has an expression, it has a story to tell. Beautiful. Opening Gamelan is a classic art from Iceland. Okay, how long it is and so on. So they have a specific measurement maybe from here until here. So we do teach them several techniques of carving. Almost of the secondary school in Malaysia, they have the old Gamelan group. It's a ganguan from the Seh Ke Jin or Raksaksa. All the water village buildings are constructed on stilts above the Brunei River. So the mosque has about 29 golden domes, 29 chandeliers, 29 marble pountains. And why 29? Because he is the 29th Sultan of Brunei Drosunam. This museum displays the traditional technologies of the water village. It's people and the traditional technologies of the inland people from the late 19th to mid 20th century. They are great mathematicians as well. How they weave, how they count. And if they create new things, they have to count how many threads go in to create that flowery pattern. It's been inspired by the environment. The biscuits, the plants, spices, so yeah. It is a museum that houses exhibits to illustrate the important upbringing, education, marriage, travels, coronation and subsequent rule of the current Bruneian head of state. These being Brunei, the exteriors is pretty lavish. The floor and walls are made from the finest Italian marble. The chandeliers were crafted in England. Yeah, Azura or giant. But here that means it's just a Buddhism, yeah, also. So that means the king he built like this for the Buddhist people. He built it to dedicate to the Vishnu God in Hindu. But you know, most of the temple, the man entrained from the Isai, from the Isai, you know. The pagoda is composed of different layers. And the top most one is we call diamond bat. So where you can see the biggest diamond at the top most. This song was composed by the Nya Vati minister. It was sings about this 18th century. They are Dalen in arts. After we are selected as 50 students in one year. Every year we selected 50 students. I want to explain about Myanmar puppet. So Myanmar puppet is the composite of wood sculpture, handicraft and painting. So Myanmar puppet is the kind of string puppet. So it's called Myanmar traditional marionette. These drums are made of the hollow batak wood and covered with the calm skins or some kind of leather. This is called a wine. All together five steps for female dancers and four steps for male dancers. The cane is a free-read mouth organ, indigenous to the people of Laos. Fabrics made using naturally dyed silk. Painstakingly hand woven on traditional looms. Collaborating with five ASEAN open universities in designing, developing and producing an open and distance e-learning course delivered fully online, maximizing multimedia redefines contemporary academic partnerships. The chosen medium of multimedia brings open and distance e-learning in a different level of teaching. Teaching and learning and research in the digital era in course development, production and delivery, which highlights the properties of this course as participatory, constructivist and collaborative. Collaboration promotes multiculturalism by capturing authentic voices in an engaging process of documentary making shared by members with multicultural backgrounds, practicing, consensus-building, dynamic discourse and dialogue. It is most important to note that the identifying of the documented art forms in each ASEAN country is the collaboration with our partner institutions. So in this particular instance, we have Hanoi Open University, we have Open University of Malaysia and Sukhothai Thama Tirat Open University and University Universitas Der Buka of Indonesia. And so here we have an example of capturing the visuality of the different arts of these countries. Synthesis paper, Ways of Seeing Art in ASEAN, is also a requirement in this particular course. A synthesis paper is the analysis and or critique of the materials read and viewed. It focuses on the highlights and presents the gist and significance of the materials in understanding the subject matters presented. Then we have the ASEAN Art Forum where students are to read, view and recommend through comprehensive annotation to our community of ASEAN scholars on what are the most useful articles on art from each ASEAN country. So there has been a lot of exchanges with students and faculty alike. Research in ASEAN art making use of art as epistemological lens, art research methods and multimedia research. Forum and exhibition space where students are to submit a short write up, annotation of documentary and the video production that they have themselves produced. These are all original video documentaries that they have produced. Then we have the top three choices where students are to view all video documentaries by their classmates and submit their top three choices out of the productions that have been submitted by the students as co-creators of academic texts. The works were reviewed and critiqued in terms of content. The learners interacted with their community with diverse cultural heritage as co-creators of texts in producing their individual documentaries. They took their cameras to their community and interviewed, took footage and mingled with artists, art patrons, art enthusiasts and the people of the community whose lives have been touched by the art forms and the processes that go with it in its creation. With interaction of learner and community of practice and presenting their reaction and insights show their transformation as online students into co-creators of academic texts for becoming active agents of preserving and promoting cultural heritage. In what follows are multimedia footage on activities and output of the students and learning and multimedia research documentaries. As I have been saying, this is why we have adopted ODEL, Open Distance eLearning. As a framework, as a philosophy, as a worldview, we now live in an increasingly open and interconnected world. We who are with educational institutions need to reexamine our approaches in teaching and learning in the light of the demands of the global era and the digital age. We need to produce graduates who have the ability to seek new and research on information from different sources, communicate these knowledge in various forms and situations and translate these information into action in different cultural contexts. They are innovative, creative, critical thinkers, make evidence-based decisions and have good communication skills. Open Education offers a range of possibilities and it is up to us to find out how we can apply it to transform the lives of our people and our nation.