 So, we're going to first start with talking about finding and tagging a text. So when I say tag a text, it means tag it for metadata. We've been talking about their different, remember that the big idea here is that we're creating an archive. All of you can create lessons, put it in an archive, but the problem is repositories can get full of junk. And the idea of openness sounds great. But it has to be curated. So we're talking about borrowing from kind of academic conventions of peer review, as well as crowdsourced conventions and kind of building a hybrid. So that's where we want to go. So we need metadata. Janet brought up the idea of assessment. So assessment could be part of the metadata, how does this text function, and the curriculum, how am I going to assess the student outcome, so forth. We need to tag it for language, obviously. The Germans want to go in and look for German text, and so forth. So we'll talk about that. We're going to then move into how to create a lesson. And you've just seen two lessons, two examples. There's no right way of doing a lesson, but it does crucially start with a text. And then very importantly, how to choose a license for your lessons. So let me, and then, of course, after you've done all this and tested it out, we want you to share your flight story back. That's the notion of creating a case study. So I mentioned at the outset the idea of creative commons, the power of open. OK, so creative commons is actually a group of international attorneys who are developing what I like to call copy left. You've heard of copyright, copy left, haha. It's an alternative, a legal alternative to the existing international copyright system. And creative commons, and so of the C in the circle, it's two Cs in the circle. And essentially, and this is, again, what we'll get into more in depth here, is the CEO of creative commons. A lot of smart people from MIT are also helping them. And because there's not one license, all rights reserved, there are multiple licenses because you are going to negotiate how you want your materials to be shared. So you see we have multiple CC, what are called CC licenses. And so, for example, CC by, which is what we say, this is a particular license, which says all I care about is attribution. You can do whatever you want to with this. You can make a profit. I couldn't figure out how to make a profit, but maybe you can. OK, so this is the most open license of all, and it really scares people when I start talking about it. But creative commons as an institution wants to promote openness as much as possible. And you'd be surprised. There are artists, there are musicians, there are people who you think of as kind of artistic production, who are adopting this whole kind of, they're in the zeitgeist of openness because they're not only, it comes back to us, it comes back to, it generates kind of resources, and it comes back to the original artist. But anyhow, so attribution is, as I mentioned, the CENA quote non, because every single license carries attribution. You have to give attribution to the originator of the content. And I want to tell you about this book here, Designing for Learning in an Open World, which I think really summarizes, a great title, it summarizes the idea of instructional design for openness. So openness is actually kind of a design principle. And I mentioned already that many people, teachers produce a lot of stuff, but they do not see themselves, they see themselves actually as consumers of products rather than producers of products, but you produce a lot. And one of the things I want people to start to think about is producing materials not just for yourself and your students, but for the kind of the greater world because you can produce something and then it can come back to you because somebody can else help you push it just a little bit farther. That's the idea here, as I said, creating an infrastructure for sharing. So sharing, we've been doing sharing informally. We have colleagues who will say, hey, I have to teach this course. You taught it last semester. Can I borrow? Basically, give me what you've got. And typically, we have a lot of stuff. But again, what I'm trying to do is help you think about, if you were to put it on the internet, where would it go? And so to build it for this open ecology of learning that we're talking about, which is the internet. So there are books being produced. Now, this is in 2013 by an instructional technologist, design books of thinking about materials that are going to go beyond your classroom and then come back. OK, there's a handout here. It's actually like an info graphic that we have produced. And I just put one per table. I have a couple others. So if you desperately want this, then I'll put them on the table. And you're going to have to fight over who gets the last eight here. But it summarizes some of the principles we'll be talking about as searching the internet for open materials. It all really boils down to Creative Commons licenses. These are called open licenses. Remember, we're talking about an alternative to copyright. And so they are available on Creative Commons website where we'll go in just a minute. But this is a nice kind of, it all is on one page here. So attribution, we've already talked about that. That simply means so-and-so. So Lawrence is in the back here. And I say, Lawrence created this great lesson. I point back to Lawrence. Attributions share alike. And they also come up with these great little icons here. So OK, I'm going to borrow, let's say, his work. And I want to build on it. But I want other people to do the same. I want them to play according to the same rules. So they can make materials, but they have to share it like I'm sharing it. There's another icon called No Derivatives. And that simply means you can use this freely. You can make copies, but you cannot change it. No derivatives. So use it as is. Educators violate copyright every day massively because we see something and we think, that would really be great with this textbook. I don't really like this lesson on so-and-so. So I'm just going to make a copy of that, violation of copyright. You're not allowed to do that because probably that other textbook that you're, yeah, not probably, definitely that textbook that you're copying has a C in the Circle All Rights Reserve license. So that's one thing. You're not supposed to copy. But the other thing, too, is you make a copy to pass out. That's called distribution. And in legal terms, that's another right. So you don't make a copy just for yourself. You want to pass them out. So you make 30 copies and you violate a copyright twice. So no derivatives then. You're not allowed to tweak it or insert your picture or your favorite cat video. You can't do that. OK, there is another parameter, and that is commercial. So you can say, do I want them? Am I going to allow them to make a profit on my materials or not? So you can actually say, no commercial. I want you to only use this for non-profit. And education is typically non-profit or endeavor. So you can mix and match these then. So attribution, non-commercial, share alike, attribution, non-commercial, no derivatives. So in other words, this is the most open license there is. And this is the most closed open license there is. Does that make sense? So that's what I'm saying. So we get to negotiate these different, these icons stand for different properties, and you get to decide where you are in the kind of arc of openness. So actually, this brochure is full of people's stories. This is a person, June Cohen, works for TED Talks. You've probably seen TED Talks on the internet. And each person here, so we have this guy's a professional photographer. They are filmmakers. They are, let's see, I don't really know all these different people. Doesn't really matter. But OK, here's this guy. Looks like a musician. And here, Patrick Andrew, McAndrew, is an educator. So they come from all walks of life. And basically, they write their case study about how they started kind of closed and they gradually opened up. So obviously, the agenda for Creative Commons is they want you to be comfortable with the notion of openness, but they're not going to push you because it's your choice. So at Coral, some of our materials, just to let you know, we produce materials, as I said, in different languages. So this is a first year program in Yoruba, widely spoken language. And Nigeria, and now in the diaspora community, so in places like Brazil. And so anyhow, there is no market for Yoruba materials in the United States. Commercial publishers will not touch this. But that's why we have the National Foreign Language Resource Centers because for less commonly taught languages, there is a need for them, but there is not a market for them. So we produce materials in less commonly taught languages. We also want to target in less commonly, what I was calling, I mentioned the context yesterday, of heritage Spanish. Heritage Spanish is an underserved population by commercial publishers, again, because they're marketing to the large group. But they're not quite right for, sometimes they can reinforce negative stereotypes and stigma for our dialectal varieties. So they're not quite right. So there's a niche there for us to fill with creating materials that serve particular populations. So here, go back to the flight. Remember, this is our website, so go up to participate. Find and tag a text. Let's do that. So here, we tell you a little bit about finding and tagging a text on the internet. But the place to go, I've embedded it in here. And you can't see it from up there, all the text there. But if you're looking on your laptop, it says, do you know that the internet search engines can be optimized to find openly licensed content, tents such as text and multimedia. For example, CC Search is a web page maintained by Creative Commons, so click on it and let's go there. I think this is a really good thing to learn here today. CC Search is like your one-stop shopping place for open content on the internet. So this is a good thing to know. And you see there are different kinds of media and there are different kinds of search engines. Most of you are familiar with Google. That's kind of like the most used search engine. But you can also search for just images or sounds and different things. So it has many different kinds of things. But most of us, I'm going to show you using Google. So you click on Google and you can, let's see, cuisine. OK. So what this does now is it's already been optimized to find everything that's showing up now has an open license. So you can click on that website or you can click on whatever the media is and it's going to be open. Meaning it will carry one of those open licenses. So here's Google. This is the French site for Google. And down here we have conditions and parameters. So it's going to be different for each of your different languages, but just Google will have some way for you to set the settings. So if you go to Paramet, you want to make sure it's research avancé or an advanced search. In other words, if you haven't gone to CC where it's already optimized for you and if you're just on your laptop at home, this is how you search the open internet. You go to Advanced Search and it's going to be almost always at the very bottom of the Advanced Search page. And in French, we're going to come to droit d'usage, which is the notion of copyright here. And now that you know about this copyright is a bundle, it's plural, non-filter, so it's not filtered by license. That's just everything. No, we don't want that. We want we're looking for something very particular. Libre d'usage, distribution. So here this means it's free, the rights are free, and I also have the right for distribution. Yeah, that sounds good. Next level, same thing, but including for commercial. I can use it for commercial purposes. And I'll just jump down to the end. So here, this is the most open of all, and that's the one I want. So when you do this, go to the bottom one, choose that link, and that's optimized for the most open of all. This gives you all the rights. Yesterday, a couple of people were saying, so where can I find text for heritage, Spanish, blah, blah? They're everywhere. And it depends on what you mean by a text. So you can search for images, or you can search for sounds too under Google. In a YouTube video, and by the way, remember on CC Search, there is a search engine just for YouTube, and it's optimized for open searches. So we'll find only open content, open videos. But there should be at the bottom here, it says show more. You click here, and it will give you category, education, license, and then it says, Creative Commons, Attribution License. Let's click on that and see what happens. And then it gives us the information that goes back to Creative Commons that spills out what the license is. This is an important point. When you tag something with a CC license, it makes it findable by a search engine. It may not be clear to you where it is, but that's the reason that the algorithm is finding it. Sometimes you have to dig down several layers, and it's usually embedded somewhere where it has settings, or it has information, or it has about. So I would say if you want to be very particular, you're going to have to keep digging down. And then you will find a link to the CC license page. We have to be really careful. There might be just one image of that page. Yes. The whole page. So you have to investigate. That's the point of looking for the text to make sure that the text is open. Let me just show you this little feature. This is also on Creative Commons. This is a generator for the particular license. So it basically walks you through then the questions you're going to ask to think through. So let's think that you've created a lesson. Do you want to share this? I hope you say yes. Otherwise, you shouldn't be in this workshop. Are you going to allow commercial uses of your work? Yes or no? If you do this, you click here and here. It creates those. That's the most open. It gives you a CC buy. You can also then dig down. And if you're going to, this is probably getting a little bit more into the guts of it, but we actually, you can then title the work, write your name here. And it will create a code here in HTML. And then you can drop that into, if you're creating a web page or something, and drop that into your web page. And you see it's generated this icon here. Here's the compact version, small version. Here's the normal icon. It also places on that website where you can download images to plug into your work document. The website, like the one that we saw, Literature Gourmand, which has many public domain texts or texts that are 100 years old, you can still use those particular texts. So don't assume that just because it's a copyrighted text that you won't have potential access to it. So in the United States, for example, if it was made 70 years ago, then it's going to be open. But sometimes a text will carry a copy or even though it should be a copyright because it's been formatted in gloss and Maison d'Édition will claim it as its own. So avoid those texts. In other words, there are going to be multiple copies of a similar text. So make sure that you find a text that's open. I'll go around. It will help you then optimize maybe a search engine or you can use, if you want to start off with the CC search, that link right there. And again, I've put it, let's go back here. And under participate, so find and tag a text. We haven't gotten to tagging. We're just finding a text. And by the way, again, I want to say that you don't have to use an open text. As we've said, you can use what you find is a closed. If you find a perfect text, I want to use it. But it's closed. It's copyrighted. You can still create materials around that text and send then a link to that text on the internet. That's another way of getting around this. When Joanna started searching the internet, she came back with a lot of things from Le Monde and different places like that. And a couple of them, we actually contacted. And they finally got back to us because we were not a high priority for Le Monde or whoever. And they would say, that's fine, $500, please, or 500 euros. But again, so we could have paid. But I was really forcing her to go through the action of finding an open text. Because down the road, it makes so much difference for everybody else who can use that. So they don't have to worry about this. OK, so I've got a little bit of a question about this. Yep. So obviously that's open. Yes. The text itself is open. Yes. Because it's past the date of expiration. And at that point, it can be used in public domain. So you can then take that text and embed it in your materials and wrap around a pedagogical lesson and then put on your own CC license. Now, some of you are probably taking stuff that's copyrighted and using it on Blackboard. And the university lawyers here at the University of Texas, because we've asked about that question, they'll say, that's kind of fair use, as long as you're using it for your classroom. And if anybody, besides, it's protected because it's only in classrooms. You're not using it for a public. But what we're talking about today is quite different. We want to make materials that are publicly available in an archive so that we can teach each other how to share that. So that's a little bit, that's a shift that's going on right now. So you can still use copyrighted materials on an LMS for your classes. But if you want to then distribute it to the world, you're gonna have to go open for this effort. So let me use the example here of the French Interactive text that we've used. When we first started this, it's more than a decade ago, we put this on the internet. We didn't know it there. Creative Commons, all this didn't exist. And people said, well, aren't you afraid that people are gonna rip it off? And guess what? They did. So one of the, we came across, it was up for about a year and we came across a site that actually used all of our content and made people pay for our content. They had to pay $50 to use fancy anti-active, which was completely free. So I contacted the university lawyers and they wrote this nasty little letter and we sent it to them and they took it down within a matter of a day. So now, fast forward 10 years later, the reason we put a CC license on every single page. So it makes it much harder for them to steal our materials, basically. So it protects us. But the bigger point is that people understand. It protects us, but it also sends a signal to other people who come across your materials and tells them how they can play or not play with your materials. So that's the point. We wanted to point back to the, to me, I originated this, but also point forward to other potentialities of the materials. Part of why we're trying to encourage you to use this Creative Commons licensing with your own things is the system only works in so far as people are using it, both in terms of they mark how they want their materials used and then also that they attribute. But if it's not marked, it creates this sense of confusion, which is why it's so important to use these on materials that you also create and share. I did a search for, that's what's nice to do in the home. Yes. I got to think that as everything else is because that was what it, you know. Yes. So Google searching this way works, but it's kind of like, it's not really giving me a copy of the home the way I want a copy of the home. So I think that would go back to being an example of what you were talking about as more of a closed text, where you might create an open lesson around it, where the text itself is closed and there's not much you can do about that because even if someone's publishing it, the question is whether they're publishing, they're breaking copyright by publishing it there. If I do it that way, if I'm going to create a link, then I can actually find the version that I like the best, and I'm going to link to that and I don't have to link to the ones that are currently open. Absolutely, absolutely. But then also presenting as an alternative that there are other kinds of texts, probably not written by people like Brecht or Black, but nevertheless, I think a lot of the materials that Joanna worked in the textbook are kind of off the beaten path as far as what we might look at in terms of literature, whether they are open resources, either fan fiction sites sometimes are great spaces for that, and then everyday texts that we've been talking about.