 My point in putting this workshop together is to walk you through the steps of creating an online course. I don't want anyone to be under the misconception that you will actually create an online course in an hour. That would truly be a feat of magic. But I do think that sometimes it's not working. I'm going to run it from the thumb drive. We'll just do some more magic. So what I wanted to do was just walk you through what our courses actually look like online. I can't walk you through the Coursera course right now because it's not currently in session. If it were in session we could, but I can't. But it doesn't really matter because in fact conceptually the courses are set up the same. So even though I'm going to show you the back end of our online courses that are fee based, the Coursera course from a user's point of view would pretty much be the same experience. Oh, there we go. Something loaded. You turn up the sound a little bit. We're going to be doing a little bit of a studio workshop right now. That's all we've got to know. I'm just going to pause, call there for a second. Thank you. And so here's the plan. The plan is I show you what the online courses look like in the MoMA space. And then we're going to divide up into production groups. It's okay if you're not here with someone you know. You will know at least four other people by the time you leave the workshop. And that's one thing I didn't do, which is I didn't count you off, but we'll do that soon. And each of you are going to have a role to play in this workshop environment. And then as a team we're going to walk through the steps of what it takes to even come up with a preliminary plan of what an online course could be. I encourage you to be creative as possible because the content at this point is completely fictitious. But I think a nice exercise, if most of you are from New Zealand, a nice exercise might be to think about the different institutions that you're either from or you've learned about in the conference and to see if you can come up with courses that use more than one institution. Because the point here would be how can we collaborate as content entities to make these courses happen. So that's the only thing I would sort of throw your way is that think about this as being a collaborative endeavor. And so the fact that you many of your, probably all of your teams, you won't know everybody on the team. You know, that's kind of part of the magic then. Any questions before we start? Okay. So what I have here is the actual course that we have offered probably for about a year and a half from our MoMA site. And it's called From Pigment to Pixel. It's basically a look through, a quick look through the history of modern contemporary art largely considered because it also includes design and architecture through the lens of color. So how did color affect the trajectory of modern and contemporary art? They're not recording this. Are you recording this? You're recording this. Okay. So you need me to speak into the mic. Right. So speaking into the mic, that's getting a little echoing. So we created this course as a kind of alternative intro to modern art. Thinking that color is a very accessible media way to look at history and kind of unusual. And those of you who follow such things might know that the Cooper Hewitt under the auspices of Sebastian Chan, who's the man who recommended me for this job, just released a whole way of exploring the Cooper Hewitt's collection through color. This isn't really related, but the idea of looking at content via color seems to be in the air. So we're happy to be part of it. We use a software that's called Haiku, H-A-I-K-U, just like the Japanese poetry. It is generally available. There's nothing exclusive about it. It's not very expensive. It is a hosted solution. So you don't have to install on your own servers if that gets your IT department grumpy. The biggest advantage of using Haiku is that it is extremely easy to use. And what I mean by extremely easy is that my educators who primarily work in the galleries and who have very little tech experience can learn very quickly how to build a course, how to update a course, how to manage a discussion forum, and they have absolutely no problems with it. The downside of Haiku is that internally it doesn't have very good video service. And so what I mean that is that in fact the New Zealand students that I have, because you guys live in the future, you often tell me before anyone else that the video is down. And it's not down for everyone, but Haiku doesn't have its own reach. So I employ separately a video service which is called Bits on the Run. And Bits on the Run has servers internationally, and they're able to stream the video in the way that my students like it. So if they have a certain kind of connection, they can stream it that way, or if they have a certain browser, what their plugins are. Somehow Bits on the Run knows, and the performance is good. Every once in a while, you know, there's a blip, and believe me, I hear about it right away. And so all of that is to say that when we're using, this is just an FYI, when we're using the Coursera environment, it's an entirely encapsulated system. They serve the video, they do the registration, they support the software. Frankly, my job is so much easier when I'm in a MOOC environment, because I get all of that service for no fee. Whereas I pay for the other stuff, and it's a little leaky. You know, if a browser gets updated, all of a sudden we're troubleshooting why the content's not being served to mobile devices, or why people with IE can't see it, and it kind of sends us in a tizzy. And I realized that coming from the Museum of Modern Art, and you know, when I was talking about how many millions of people come to the museum every year, you might imagine that I have a team of programmers behind me, and that I just snap my fingers, and things happen. But in fact, it's me, who I'm the only full-time permanent staff member, and I have a two-year grant funded 20-some-year-old, who of course can do many more digital tricks than I can, and a 12-month intern. So between the three of us, we manage this whole online course enterprise. So just keep that in mind. I'm not really allowed to impose my desires on the IT department, because they're pretty busy, and so we really kind of have to figure it out ourselves. So maybe from that point of view, we're not so different. So the course, as you see on the left-hand nav, and you've got a little preview of this downstairs, is very much organized like a book, and I kind of feel apologetic about that. If anyone knows of a learning management system that is more experiential or visual, or if you're interested in collaborating on creating such a thing, that would be my dream, because we are talking about art here, and I would really like to keep the visual information. I just haven't found one that's robust enough. So I'm still in the left-nav environment, and I'm still in a chapter-by-chapter progression through the weeks. But the basic ingredient is to start with the welcome and the troubleshooting and all the sort of preliminary materials up top, because believe me, students look for that all the time, and if you don't have it up top, you're going to send email saying, look at the top, or find it where it is if it's not in the top. And then this is a instructor-led course. I think I mentioned this morning that there's two kinds, one with teachers and students and one without. So if it was without this interaction, if you just enrolled as a self-guided student, you wouldn't have the option to say to introduce yourself or some of the other things that we'll get to in a minute. If you look down, every week looks pretty much like week four. So this one is broken out in a couple different sections. We usually have an art history lecture, which is generally speaking an expert talking about the topic of the week. In this case, it's the architecture curator talking about the history of the Bauhaus. And you probably know, maybe you don't, but in fact the Bauhaus had a huge effect on how modern artists thought about color. And some of the most famous artists that came out of the Bauhaus came to the U.S. and taught color theory in American institutions. So there's a huge connection there, and that's what the art history lecture is about. And then we often have a hands-on, hopefully always have every week a hands-on component. And the hands-on component is usually a simple exercise that you would do in your home. You don't need an art studio to do it. It does require you wanting to get your hands dirty and buy a few supplies. But other than that, it's usually pretty quickly executed. And let's see if we can finish this video where my colleague Calder is explaining a typical Bauhaus exercise. And also talking about some of the terminology that we have been looking at already in the previous workshops. So most of us listening probably recognize that melody from somewhere, from our childhood, from hearing it hundreds and hundreds of times. It's twinkle twinkle little star. And one of the things about our auditory memory is that it's really, really, really strong, and it's really, really, really distinct. So for example, if I start to play the song, now everyone probably has the next note in their head. And when I do play it, the sound that comes out is going to be very, very close to the sound that you have in your head. So for example, right? But when we try and transfer that sort of memory to the visual side of things, especially when we start talking about color, it becomes really, really difficult to keep those colors clear in our memory. So for example, if we keep with our twinkle twinkle little star theme and we talk about Starry Night by Vincent van Gogh, Vincent van Gogh's painting is one that I've seen probably hundreds and hundreds of times. And if I had to draw it, I could probably get the outline of the images pretty close to reality. I could see on the left side this tree jutting up into frame. I could see the sky kind of rolling around behind it. The stars in the sky coming over from left to right. And that's kind of the general outline. And most of us have... So I'm going to stop it there. But you get the idea that we're trying to be, you know, since we're teaching to a general audience, we assume they have no background in art when they take these courses. And so we try to start with a very simple idea and then work them into the more complex ideas. And by the end of this exercise, he is doing something with papers, special papers, that allow you to understand the difference between hue and tone. And then we ask the students to do that. Then that experience becomes the fodder for the discussion area, which I'll show you in a minute. I think I'm going to be able to call upon archived discussion topics. So yes, here they are, color, hue and value. And then you see that Marissa was talking about how helpful this lesson was. And then down below Harriet, you know, is responding to her. And then Akai, you know, shimes in. And then Corey, the instructor, brings in, you know, his perspective on what's being said. And in a nutshell, that's kind of how the most simple, basic discussion goes. Sometimes we have a whole class 35, 45 students full of chatterboxes. And sometimes we have wallflowers. It's kind of the luck of the draw. But at the end of the studio courses, and this is sort of a blend art history and studio, but especially the studio courses where they really are much more focused on the how to do it, how to paint, an abstract painting, how to make a collage. Those courses tend to result in those kind of Facebook groups that I mentioned before. Are there any questions? Okay. I think that's pretty much enough to get us started. So what I was going to do now is just go through, and sorry, I just, we had the technical difficulty. So I didn't set this up quite like I thought I would already. Okay. No, not okay. Yes, okay. Is it showing up? Yes, excellent. So what I wanted to do is just walk you through... Oh, first of all, this was my inspiration for the organization of the workshop, which I was looking around in the TAPAPA database just looking at the images, trying to get familiar with the collection. And I found this really jolly guy here who's a factory worker. And he's actually a good icon to have in our mind because his name is Charlie and the photographer is Glenn Bush. And Charlie is probably one person in a whole system of things that have to happen in a certain order, in order for the outcome to be perfect. And that's kind of the view of what you want to think about when you're putting together an online course. So we're going to start with probably the most influential position. I'm not going to say important, but the most influential thing that you have to have is the manager. So the manager is responsible for the quality control. There is an issue of time. So the manager is going to say, you know, we're going to launch in June. And so we got to start production in January and we're going to be done by March and then sort of lays out the chunks of time when things have to happen. But the manager also needs the idea maker, which in this case is the teacher. So they have to choose a teacher who's familiar with a certain kind of content. And for our exercise today, you know, if you want to be a teacher in your group, think about the kinds of content that you would be interested in doing. Here are a few examples that might be fun and interesting. You also have the producer. In this case, I mean media producer, which is, you know, where does it make sense to have video? Maybe we make an interactive feature for this. Maybe this is where we have a slide show of images rather than a video. Are you making a real video or are you just going to record the audio and have a PowerPoint slide edited with the audio? We do that a lot. It's a lot easier to produce. And it gives more flexibility to the teacher to do editing than if it's, than if we're editing from a real video, both sound and image together. There's my colleague, David, who helps me a lot with the video production. And then you have, I mean in this case, I use the word packager because honestly, in this particular workshop scenario, you know, the editor isn't going to really have a lot to do, but you need someone who's going to look back at all these disparate elements that may not really be fitting together well and to be kind of the QA to say, you know what, there's too much in week one, there's not enough in week two. I don't really get what you're trying to get out in week three and sort of be the feedback loop for the others who are producing the content. And so these are the, you know, whatever icons I could find in PowerPoint that might suggest that. And then you need the advertiser who is making up the messages of how they're going to sell this course, what are going to be the top line communication, words, images, slogans, concept, quick video, whatever it is, you need to be able to get the word out about what you have. Otherwise, you haven't finished, you haven't done your job. You know, you can make the best content in the world, if it's sitting on your server and no one's signing up, it's not really a good outcome. Oh yes, and more silly clip art. All right, so one other thing I wanted to show you was that thinking about the cycle of content, you might want to keep this in mind. And I didn't really use a particular logic in making this circular motion, just that every week this happens over and over again. So let's just say you start in the bottom left corner, and you want to make sure that you've, every week that you've organized your content in a way that is absorbable. And what I mean by that, and I spoke about it a little bit this morning, is that, you know, some students like to watch videos, some like to read. We often offer URL links out to just elucidate certain points that are really important. Every video that we put up on the site is captioned, and sometimes our non-native English speakers really rely on those captions, as well as people who cannot hear. And with every video, we also provide a slide list, not only to fulfill our requirement for all of the information about what the artist is and the title and the date and permission request information, but also just to give the students a chance to really focus on the images. Because sometimes when you're making a video, you're sort of in the narrative and you're not really having the opportunity like you would in the gallery to step out of the narrative and just stare at the painting. So we make the video, it's about the art history, the follow-up with the slideshow that lets them have that visual access. So think about the way that you present the content that overlaps, maybe even in the actual information in the content, but that is overlapping and takes advantage of the various ways you could present that information. And maybe you'd even come up with other formats I haven't mentioned that could be part of your content module. So then if you're moving up towards the top to exchange ideas, this is like the discussion forum area. Think about things that would be really good topics for people to talk to each other about. In a classroom, as a teacher, I'm often calling on the students to find out if they do their homework, and I'm making a mental note that I'm then writing down on their record about whether I think they really got it or not. That's not really, if you're teaching to a general audience, and in this case we are, we're not working towards a degree or a certification or anything. I'm really much more interested in putting out questions that get people talking to each other. So what do you think about the content? Or maybe I'll even, sometimes I do this, sometimes I require them to go look at a work of art in a gallery. It doesn't matter which one, wherever they're living, or just look at work of art anywhere and come back with this particular content in mind. Color, let's say, if we're talking about color, and then to respond to each other, and that would require them to upload a picture of their adventure to the gallery and for them to talk about it. And that's a really good way for people to chime in and exchange ideas. It's non-threatening. You don't want to set up a situation where they have to have specialized knowledge to answer the question. What a way to create absolute silence in the discussion forum. Is this all nodding heads? We're good. We're together. So moving over to experiment, that's more about the hands-on situation. And sometimes the thing I just described in discussion kind of bleeds over to hands-on. But it's so rewarding, I think, when you're studying art, even as someone who's only involved in the art history part, to actually have the experience of making. And we've started this new program in MoMA where we've thrown out all of the traditional style lectures. You can't go to MoMA anymore just any day and show up at 11 o'clock and a lecturer will appear to you and they will lecture to you for an hour. We used to do that twice a day and not anymore. What might happen is that you're in the galleries and a cart will appear and on the cart are lots of clipboards with pencils. And I might say to you, this is an intervention. We're gonna draw. And you have no idea that I'm coming. It's not on the schedule anywhere and I start passing out pencils and paper and before you know it, everybody's happily drawing. And then I started discussion. Wow, look what you noticed in this drawing. Did you notice that in the same way? And people start comparing their drawings and, of course, some people get a little concern that they don't know how to draw right. But when you're in an abstract gallery with Montreal, you know, it's just geometric abstraction. All of that goes out the window. Sure, I'll draw a line in a square. But the thing is, it's not the point of it and the visitors pick it up right away. The point of that is not to create a perfect drawing. The point of that is to get you looking. It's just an exercise to get you to focus on the act of looking. And down on this corner is to show mastery of some kind. This is something I struggle with with the general audiences, less so with the Coursera MOOC because the intention of the Coursera MOOC was to build the pedagogical skills of the teachers. And even if they weren't teachers, that 40% that showed up that weren't teachers, they're there. I mean, I'm not going to skew my content for them. The point was, we're making a class for teachers. If you come, that's fine. But you got to behave like a teacher. And so if I know that they're all teachers, I'm much more comfortable coming up with assessments that would be teacher-y and relevant to their background. So the final project for the Coursera course, which to my surprise, 1,500 students did everything in the Coursera course, including the final project, which was a lesson plan. So they had to make an elaborate lesson plan for one of their classes that involved all the skills and the subjects that we had talked about for four weeks. And 1,400 did that and then they got a certificate of completion. So in order for them to get that certificate, I had to assess them along the way. So there were quizzes about the reading and there were, I can't even remember now, there were certain things they had to do. They had a post in the discussion session and then the last bit was the lesson plan. And I just think that, you know, we might reach in that way maybe a couple hundred teachers a year but reaching 1,500 at that level for us was just phenomenal. Whoa, it's getting a little wiggly over there. All right, so you might have other ways of showing mastery and I would say that this is optional but I'm putting it on there as it might fit into your goals in making the course. Okay, so now it's time to do the workshop part and I'm going to guess that we'll probably fit into four groups but here's how I'm going to do it. So those of you who really see yourself or maybe you already are managers and you want to be in the purple team, can you come up to the table over here? Oh, come on. Stand up, you must move now. Come on. I think I need at least four of you and then if some of you are going to hang back to see which groups need someone, that's fine, thank you. Managers, very important role. All right, next, who wants to be a teacher? Okay, teachers, go over by the blue post, the blue end of that table over there. Great, four teachers, five teachers, excellent. We can have six teachers, let's see what happens. One of you might have to move around. We're just going to fly by our pants here. All right, now, producers, who wants to be a producer? Media producer, do you think in video? Okay, go to the green end of the other table. Now, if you're at a color end, take one of the post-its and stick it on your shoulder. So this will be important. Come on, purple group, I'm sorry, yours are pink. And then promoters, the rest, wait a minute. Some of you didn't go, we might have to make another group. All right, stop talking. We're going to share now, and I want to make sure that everybody hears everybody else, because remember, peer to peer learning, very important, right? You all learned that this morning. Oh my goodness, you guys are really recalcitrant. Do I have to use my teacher voice? Hello, table four and three. There's a column between us, but I can see you. All right, so everybody turn around, face me. I'm the director. I'm going to call on my marketers to be the ones who are going to pitch the course to me. We stepped into the elevator and I'm saying, oh, what's going on? You know, I'm going to have a press event tomorrow. I'd really like to have something from you that I can promote in the press event. So, group five, let's hear it. Wait, actually, Tamara, can you come up into the mic? I don't think everyone can hear you. Well, we thought it. It's going to be an eight week course to tie in with term two, 2014. It's a sort of a package deal with input from Tiara and from Ako Zenziela, National Services to Pining. It's a course on the women's suffrage movement in New Zealand. It's very important, but it's tagged towards secondary school students. They get to understand New Zealand's important place and social change. And it also slightly coincides with the women's suffrage from the 120th anniversary this year. And so, if you were the director, that's great. I just turned to ask a question. What would be a likely question from the director? Anybody? How much is it going to cost me? Oh, it's a bargain. It's $20,000. $20,000? But it's really, really good. And how are you going to get the message out to the students? Budget is still not packaged out, but as they are the internet generation, we made an online backing drive through email campaigns, through social media, and hitting up the appropriate groups at various high schools. Any other questions that the director would ask? Group four, may I have your promoter, please? Bring your paper. I just want to mention that very often, I mean, although we did this in less than an hour, very often the people on the team have to play more than one role. You might have already guessed that. Rarely do we have five people on the team actually playing these separate roles. Team four. We decided we would have a course about planning a wedding, and we would have four modules over four weeks, and our wedding could be sort of thematic, so it would be the full-out, you know, cost is no expense being kind of full-grown wedding, and then you would have the chief and cheerful barbecue on a beach type thing, and then you'd have the registry wedding, of course, if you're sort of knocked up and your husband's going off to fight war, and then we'd have their loading off to a specific island, so everything that you would need to do to plan those kinds of weddings. What's next? What would the director ask? The audience is people getting married. Yeah. What about how? Did you see that was a request? He thought $2,000, and it would just say $500, but he wanted to examine it first. And are you going to charge admission for this? Oh, right, yeah. Right, that would be an important lead. Okay. I would say you're pitching your director something that, you know, is a bit off-topic, let's say. Like... We were initially with that. Anything else the director might ask in the elevator? Did he answer all your questions? You don't have any other questions? How are you going to... Oh, we didn't quite get to that, but... So obviously through all the usual sites of the website and Facebook and Twitter, but also through, like, Riot Expose and Fabric Shops for Riot and things like that. My question would be where are you going to get the answer? Who are you working with? Do you have the answer? Oh, the Victorian Albert exhibition. Is there anything local? Is there anything local? Is there any organization that you'd be working with? We mean the Victorian Albert Museum in London. The what? Yeah. I'm sorry. I'm sorry. It's not a public project. Yeah. How about the site we looked at yesterday? We're all site. Here's a group of... Okay. All right. Just as an aside, people will pay to take lectures that are not on such, like, you know, let's say, commercial topics. Group three. Send me your promoter. Bring your notes. What do you have for my question? We are... Sorry? So then you wish you'd taken the stairs. Beginning to. We have been planning a visual literacy course for year 11 to year 13 students. Okay. The course itself takes four weeks. And it's exploring visual literacy through political programming. We're planning a four-week course for year 11 to year 13 students. Sorry. It's a visual literacy course exploring visual literacy through political cataloging. It's going to be a digital NZ platform and taking any material that's available online, really. $15,000 is the initial budget, but that includes promotion as well. So I think that's a really good deal. Are you going to get this message out? Initially, we... We're working with teachers. It's teacher collaboration by the initial parts, but the secondary parts, it would be people presenting to each other. So it's details of the course, but it's three streams happening at the same time. So three age groups sort of presenting to each other and spreading the word that way. And also inter-island, like, political issues. Political issues in North Island are quite different from the ones in the South Island and sort of exchange students. Any questions from my friends, the other directors? OK, good job. Thank you. Right, you know how you've been wanting to get more collaboration in the glam sector? Yeah, how did you know? I was just reading you. And we've actually got some really great existing resources, specifically Kete, that we think we can get a lot more value out of. We are wanting to, using, from a little point of view, we are wanting to, using a run a pilot project where we get existing Kete and run a course that's aimed at professional development, with the impact being that they're professional teachers and institutions to be able to help communities tell their own stories. So what it is, it'll be a six month course on how to use Kete aimed at professional and other things. Yeah, yeah. Yeah, yeah. I may have to get out of the elevator. Oh, why? You know what I mean? It's just like, you know, time's running out. Stop. What are my questions? How much has it been announced? Well, we're going to be drawing on the resources from across institutions but we're going to be about $20,000. How are you going to market the scores? What are people going to do? Through the professional communities that are going to see that. Sounds a little abstract to me because what you want to do is you want to say, like, we're going to use, you know, Twitter or we're going to do a lot of things. So it's a professional development course. So I probably wasn't there for the, like, for example, the community at Indiana. So I'm using the existing network of NDF to communicate out about the scores. That would have a very strong message for me. Okay. All right. Excellent. All right, take us home. We have one. I don't know. Yeah. Let's go. You guys are tired of us. Okay, thanks. Well, our course is an online course about bird identification with sound recordings. We're using a big archive in New Zealand that has a lot of beautiful sound, bird sound recordings. And it's a mix with the virtual world. So as we meet our courses online, but students, high school students also go into the field and make their own recordings. So they're making a user-generated community of local bird recordings. So it's a great idea for students and high school teachers. So we really think we can sell it very good. We're going to intrude into the biology teacher community and the marketing Facebook in their in their world. So it's going to be great. So I think you all have to join. And did you say how much it was going to cost? It was only $25,000. And we use existing platforming tools. Did anyone pick up on the one thing they did that I don't think I heard anyone else do in terms of how he described the course? You talked about what they were going to do. You talked about they were going to go out and use these bird sounds to learn about birds. I forgot what exactly you said. That was a key part that I think they were going to go out and record. So the crowdsourcing bit was an important component. So good job, good job, good one. Any questions, thoughts, reflections about did this workshop work for you? It's not a lot we can do, but was it a good way of learning? Did you learn by doing? Yeah. Any other questions that you want to share, reflections about the process or the content or making courses on your own? Here I am. Yes. I didn't hear your question. When you did the introduction of captions. Were those closed captions or was it like a transcript? We don't put entire transcripts on but if students ask for them we will send them to them. So it's really by request but these are closed captions in the video that we usually do. You know, we only have such a short time together. I just want some overall reflections which is that thinking carefully about all the ways that you can use media to teach is really important. And I know you don't nearly have enough time to think about that but it really does create a lot of value for the online course experience. And that's one thing I really want to emphasize. And the other thing is that when you're describing these things and you have five minutes for the director really focus on the action works. We're going to do this, it's going to do that students will do this, this is what the outcome is here's how much it's going to cost in like five sentences no more. And you know just helping you get your ideas across. I don't know how it works in New Zealand but I'm often asked to stand and deliver in a too short amount of time for other complex ideas. So I have to constantly be thinking about how I'm going to sell this piece. But I have to say for throwing you guys into hot water you did fantastic. Because the promoters were really in the hot water I have a special present for them from the moment I started.