To commemorate the event, NDU hosted Naeema Zarif, Creative Commons Regional Coordinator for the Arab World. Ms. Zarif met NDU President Fr. Walid Moussa, who expressed the importance of capitalizing on recent trends in open education to broaden access, foster innovation, and alleviate student textbook costs.

During the symposium, Dr. Fawzi Baroud, Assistant Vice President for Information Technology, described the history of  NDU’s involvement with open education beginning with his own participation in the U.S. State Department sponsored Open Book Project in 2014 and the continued collaboration with Creative Commons to create awareness and devise capacity building projects for an optimal OER culture within the university. He also traced the University’s future trajectory with regard to OER and the role it will play in advancing OER in Lebanon and the region. Ms. Zarif went on to speak about CC licenses in a panel titled “Creative Commons Licenses and the Future of Open Education in the Arab World.”

The symposium’s second day (titled “NDU Student Attitudes toward the Use of OER”) focused on the piloting of OER in a university-wide English course targeting close to 600 students in more than twenty sections across three campuses. Dr. Kamal Abouchedid, Dean of the Faculty of Humanities, highlighted the integration of OER as a strategic initiative at NDU and as a means of fostering open education.

The design of the course was described by Dr. Sandra Doueiher, Assistant Professor and Coordinator of English. Joining the discussion from Denmark via Skype, Dr. Ena Hodzik spoke about the scholarship of OER, specifically about the issue of quality and utility in the integration of OER. Dr. Hodzik went on to explain that the student survey administered by NDU closely aligned with the major themes in the literature of OER.

Survey results were presented by Dr. George Abdelnour, Chair of the Department of English and Translation. The extensive survey sought student feedback on the use of OER based on general attitudes, effectiveness, quality, and learning outcomes of the resources used. By a 2 to 1 margin, he explained, students showed high levels of satisfaction and engagement with OER. The findings also showed a favorable inclination toward enrolling in courses using OER in the future.

The post OER Symposium held by affiliate team at NDU in Lebanon appeared first on Creative Commons.

Currently, NDU students across three campuses are taking part in the University’s first pilot English course fully based on open educational resources (OER). Following the University’s strategic decision to integrate OER in teaching and learning, students enrolled in Sophomore Rhetoric, the University’s core English requirement, are the first cohort to pilot the use of open educational resources in the classroom, reducing textbook costs while promoting a culture of sharing and sustainability on campus.

The adoption of OER follows NDU’s signing of an Affiliate Agreement with Creative Commons, the non-profit organization providing copyright licenses for the free use and sharing of academic and creative resources.  OER used in the pilot course have been licensed by Creative Commons and are thus freely available to students and faculty, thus avoiding any copyright infringements. As an institutional affiliate of Creative Commons, NDU is leading the way among higher education institutions in Lebanon in the promotion of open education and open access.

“Students have been demanding innovation in the classroom for a long time now,” Department chairperson and Creative Commons Public Lead George Abdelnour explained, “and by blending digital technology and high-quality academic resources that are freely and openly available online we are trying to make the learning of writing more effective and engaging.” The piloting is taking place in 25 sections of English Rhetoric with a total student enrollment of 500.

The development of this new, OER-based course was the product of collaboration between the Department of English and Translation at the Faculty of Humanities and the Division of Computing Services under the leadership of Assistant Vice-President for Information Technology, Dr Fawzi Baroud. A committee of three faculty members from the Department of English and Translation led efforts to identify, integrate, and redesign the course, namely Drs. Sandra Doueiher and Ena Hodzik, both Assistant Professors of English and Applied Linguistics, and adjunct faculty member in English Nathalia Geha.

The post Notre Dame University – Adopts OER under CC Licenses appeared first on Creative Commons.

For every TeamOpen example there are many others who want to move in that direction but don’t know how. The question we frequently hear is, “How do I earn a living, pay the bills, and keep the lights on if I openly license my work and give it away for free?” This question is asked not just by entrepreneurs but by people in non-profits and government too.

We are pleased to announce, through gracious funding from the Hewlett Foundation, that we’re launching a Creative Commons open business models initiative aiming squarely at showing how our licenses can, and are, used by businesses, non-profits, and governments.

Building an open source business by Libby Levi licensed CC BY-SA

We aim to help businesses see how to use and contribute to the commons in a way that aligns with the norms and values of the commons, while at the same time operating as a business. We want to show what sustainability models look like. We’re planning to generate designs for how to move from closed to open. We want to provide models for businesses whose aim is to provide products and services that have both economic and social value. We aim to make visible how open business models work and provide tools and strategies for designing and developing your own.

We want to do this work in a community-based way with all of you. So this blog post is an open call for participation.

The Creative Commons open business models initiative provides you with a set of interactive tools which you can use to design your own open business models. You can use the tools to model anything from a new startup open business to an existing open business, or something in between.

The Creative Commons open business models initiative asks you to share the models you come up with including your analysis of your own models and provide suggestions for improvement of the open business model tools themselves.

Creative Commons invites you to participate in these open business model activities:

1. Join us in designing, developing, and iterating a set of interactive Creative Commons open business model tools that anyone can use to design an open business model.
2. Use these open business model tools yourself to generate your own open business model(s).
3. Share the results of your participation including the open business models you generate.
4. Provide feedback and recommendations for improving the Creative Commons open business model tools and process.
5. Partner directly with Creative Commons on developing an open business model for your specific initiative.
6. Participate in a Creative Commons workshop on generating open business models.
7. Contribute to a Creative Commons open business models report.

See our Creative Commons Open Business Models Participation Activities document for further details on each of these activities, including specifics for participation, and links to the tools.

We’re excited about doing this work with all of you and growing the commons through open business models.

The post Open Business Models – Call For Participation appeared first on Creative Commons.

SOO logo on Holiday Wreath by Kelly Teague under CC BY-SA

This year, our community:

• Gave School of Open a facelift
• Established a community blog
• Tried out a new community discussion forum called Discourse
• Developed and ran online courses on Why Open?, Open Research, Copyright 4 Educators, Creative Commons for K-12 Educators, Writing Wikipedia Articles, ABC of Copyright for Librarians in Latin America, and more
• Launched School of Open Africa with nine programs in four countries
• Ran a second Open Educational Resources (OER) Summer Camp on Luxi Island in China
• Celebrated the Web We Want through a day of awareness, learning and practice for open licensing and its relationship to free culture in Colombia
• Hosted Maker Parties across Africa and combined CC and Mozilla communities to further open education work at Mozfest
• Teamed up with Wikipedians to bolster articles about all things related to open education
• Launched a series of OER awareness workshops for librarians and academics in Romania
• Developed Creative Commons for Kids in South Africa
• Activated the next generation of open advocates in Africa through the Kumusha bus
• All the while bolstering each other up in our meta-community full of beautiful faces

For 2015: Some changes are on the horizon. Mainly, we’ll be working to revamp our website to better support our volunteers wherever they are based, streamline the process for volunteers who want to run their own online courses, and re-strategize around what it means to develop and run a School of Open program. Above all, we want to increase our impact by combining forces with all open web and education advocates who are being leaders in their regions. Stay tuned…

On behalf of our intersecting communities, CC wishes you a wonderful holiday and a Happy New Year!

See how far we’ve come:

• What we did in 2013
• Highlights from the Class of 2012

The post What School of Open volunteers accomplished in 2014 appeared first on Creative Commons.

(SOO logo here. Earth icon licensed CC BY by Erin Standley from the Noun Project.)

Called Popjam, this SOO launch event + Mozilla Maker Party will be a day-long workshop introducing high school students to open educational resources (OER). Students will learn how to use OER and the open web to complement their academic studies. Students from four high schools will participate: Precious Blood Secondary School, Nairobi School, Sunshine Secondary School, and State House Girls Secondary School. SOO Kenya is hosted by Jamlab, a co-creation community based in Nairobi for high school students and graduates in Africa.

For more information about the event, and to RSVP if you’re in Nairobi, visit the event page.

About Maker Party

School of Open and Creative Commons is excited to be partnering with Mozilla to celebrate teaching and learning the web with Maker Party. Through thousands of community-run events around the world, Maker Party unites educators, organizations and enthusiastic Internet users of all ages and skill levels.

We share Mozilla’s belief that the web is a global public resource that’s integral to modern life: it shapes how we learn, how we connect and how we communicate. But many of us don’t understand its basic mechanics or what it means to be a citizen of the web. That’s why we’re supporting this global effort to teach web literacy through hands-on learning and making with Maker Party.

About the School of Open

The School of Open is a global community of volunteers focused on providing free education opportunities on the meaning, application, and impact of “openness” in the digital age and its benefit to creative endeavors, education, and research. Volunteers develop and run courses, workshops, and real world training programs on topics such as Creative Commons licenses, open educational resources, and sharing creative works. The School of Open is coordinated by Creative Commons and P2PU.

The post School of Open Africa launch event in Kenya tomorrow! appeared first on Creative Commons.

Following on the heels of “Writing Wikipedia Articles: The Basics and Beyond,” three more School of Open courses are now open for sign-up. They are:

1. Copyright 4 Educators (AUS)

This course will equip Australian educators with the copyright knowledge to confidently use copyright material in the classroom. It will also introduce Open Educational Resources (OER) and teach you how to find and adapt free, useful resources for your classes. The course is open to all educators around the world, but it is specifically targeted to Australian teachers, teacher-librarians from K-12, TAFE teachers, University lecturers/tutors, and University students studying to become teachers. The course material is learnt around practical case studies faced by teachers when using copyright material in their day-to-day teaching and educational instruction.

Facilitators: Jessica Smith and Delia Browne

To sign up, click the “Start course” button on the bottom left of the course page.

2. Copyright 4 Educators (US)

This is a course for educators who want to learn about US copyright law in the education context. Educators who are not in the US are welcome to sign up, too, if they want to learn about copyright law in the US. The course is taught around practical case studies faced by teachers when using copyright material in their day-to-day teaching. By answering the case scenarios and drafting and discussing the answers in groups, you and other participants will learn:

• What is the public domain?
• What does copyright law protect?
• What is fair use?
• What other exceptions are there in copyright law?
• What are open access educational resources?

Facilitators: Laura Quilter and Lila Bailey

To sign up, apply using the Google form — also linked at the top of the course page.

3. Creative Commons for K-12 Educators

K-12 educators would like to find and adapt free, useful resources for their classes. Some would even like to incorporate activities that teach their students digital world skills — such as finding, remixing, and sharing digital media and materials on the web. In this lightly facilitated course, we will learn how to do these things with each other in a peer learning environment.

Facilitator: Jane Park

To sign up, click the “Start course” button on the bottom left of the course page.

About the School of Open

The School of Open is a global community of volunteers focused on providing free education opportunities on the meaning, application, and impact of “openness” in the digital age and its benefit to creative endeavors, education, research, and more. Volunteers develop and run online courses, offline workshops, and real world training programs on topics such as Creative Commons licenses, open educational resources, and sharing creative works. The School of Open is coordinated by Creative Commons and P2PU, a peer learning community and platform for developing and running free online courses.

The post School of Open: Copyright & Creative Commons for Educators Courses Now Open for Sign-up appeared first on Creative Commons.

Sport (?) 1911 (LOC) / Bain News Service,, publisher / No known copyright restrictions

Hit the Road Map: A Human Timeline of the Open Education Space

Join the School of Open (Creative Commons & P2PU), the Open Knowledge Foundation, and FLOSS Manuals Foundation for a fun evening to connect with your peers in the open education space! So many efforts exist to “open” up education around the world. How can we help connect these efforts? We’d like to start by collaboratively building a human timeline of open education — Do you remember when and where you first became aware of open education? When did you first become passionate about “open” or participate in an “open” event or job? Where and what was it? What else in this area has most inspired you? We will share experiences and manually place ourselves along a real world timeline (think rolls of butcher paper, markers, glitter is optional). Then we’ll start fleshing out the timeline with key events and persons that we think brought the open education and knowledge movement to where it is today. We’ll stop whenever we get tired, make merry with refreshments and snacks, and digitize whatever we have by the end of the evening for further contributions from everyone and anyone on the web. We’ll make the resulting timeline available openly (either via CC0, CC BY, or CC BY-SA), and feature it in a chapter of the Open Education Handbook!

Due to the awesome, but limited space, this event will be first come, first serve, capping registrations at 30 participants. Please update your registration if you cannot make it to make room for those on the waiting list!

The post Join School of Open, OKFN, and FLOSS for an evening in London appeared first on Creative Commons.

The conversation Monday revolved around the impact and potential for World Bank research — and open access in general — for development in countries around the world. For example, how will access and reuse of research under an open access policy create opportunities to solve large global challenges such as climate change and hunger?

The panelists jumped in, and stated that an immediate, baseline benefit of the open access policy is that now, World Bank research is aggregated in one place and made available for free to anyone with an internet connection. This is not the case with subscription journals, where readers have to pay to view the articles. Mike Carroll noted the importance of addressing copyright concerns in open policies. Even when research is made available for free online, if readers are unclear about the rights available to them, the articles and data will not be as valuable or impactful. This is especially important in developing nations, where republication and moving information from the Internet to an offline environment requires copyright permission. With open licenses such as CC BY chosen by the World Bank, permission to republish and translate articles into other languages is automatically granted. Carroll pointed to related success in the Open Education space. He said that many MIT Open CourseWare materials have been translated and put into use in other countries (such as Vietnam) specifically because the original resources were published under an open license that permitted translation and reuse.

Suber and Muller said that one benefit of an open access policy (especially when combined with open access to the underlying data) is that it can help validate research and work toward consensus on a particular issue, such as climate change. This in turn can help policymakers make better, research-driven decisions. Muller said that open access promotes collaboration between colleagues, even those with different skill sets and backgrounds. With this comes the increased possibility of solving complex research problems in novel ways. Muller and Wagstaff noted that the Open Access Policy would help increase the visibility, access, and reuse of World Bank documents and research. This information will help increase the audience for important Bank research and will promote cross-border transfer of information, especially in a south-south direction (as opposed to north-south).

To highlight the dire situation in pricing for traditional journals, the panelists discussed Harvard’s recent announcement about the unsustainable cost of scholarly journal subscriptions. Suber noted that even with a journal budget of $9 million per year, the Harvard University Library realizes it cannot afford the ongoing agreements with commercial journal publishers. And clearly, if even Harvard can’t afford the full range of research, every other university in the world is worse off. However, Suber said that seven of Harvard’s nine colleges have adopted exemplary open access policies, thus retaining access to the research from Harvard faculty even if those faculty publish in traditional and expensive subscription journals.

Carroll pointed to a more fundamental problem with the current scholarly publishing ecosystem. Scholars have always written to maximize impact; the web helps makes it easy to publish to wide audience, at near zero cost. The logical conclusion to these two assumptions is that all scientific and scholarly research should be widely available for free online. However, this is not how things have shaken out. Instead, prices to access scholarly research has gone up dramatically, as half of science literature has been published by commercial houses. These commercial publishers have enjoyed up to 36% profit margins, even amid the worldwide financial crisis. This points to a larger problem, and hints that the current publishing system overall is broken. However, Suber said that there are currently some for-profit open access journals that are indeed profitable. However, he guessed that the profit margins at those companies was probably closer to 2-5%.

A related question from the audience asked why a scholar would want to publish research as open access if given the chance to publish her work in a “shiny” established journal. Panelists pointed out that the World Bank Open Access policy allows authors to do both. The policy requires that authors deposit a copy of their final paper in the Open Knowledge Repository, and doesn’t preclude researchers from publishing in traditional journals. Of course, while this framework is a step in the right direction, it doesn’t solve the underlying problem because big publishers continue to enjoy huge profit margins on their access-controlled subscription journals because university libraries continue to pay for the access that their faculty require.

Suber pointed out that there are other benefits to publishing work as open access. He said that publishing in open access journals allows authors to attach open licenses (such as CC BY) to their work. When they do so, they make the work more useful to readers and users. So, the smallest open access journal has a potentially larger audience than even the most popular paywalled journal because the work can reach anyone in the world with access to the Internet. When you couple this massive potential audience with the permission to republish and reuse via an open license, authors can maximize the impact of their work beyond the reach of any closed journal.

Mike Carroll also brought up the importance of new technologies and methods such as text mining as another tool to help solve complex problems. Challenges such as climate change are huge, and can’t be tackled by researchers individually. At the same time, there is now a huge body of research articles on the subject, and scholars are facing an information overload problem. That’s where text mining comes in, and allows researchers to conduct intensive computational analyses on huge sets of scientific texts in order to identify correlations, patterns, and unforeseen connections that would be impossible to understand by reading the articles by themselves. While the traditional publishing models typically block such text mining efforts, open access gives permission in advance, helping researchers solve problems faster and promote scientific innovation. Questions around the legal implications of text mining in relation to copyright are currently being discussed in the UK.

The post World Bank Live Event Report: Open Access Policy and Development appeared first on Creative Commons.

A few weeks ago, I had the chance to talk to George Mayo, known as Mr. Mayo to his students, a middle school Language Arts teacher in Maryland. Mr. Mayo was brought to CC Learn’s attention by Lawrence Lessig, CC’s founder and current board member, who Skyped with Mr. Mayo’s class for thirty minutes, answering questions on copyright, YouTube’s take-down policy and downloading music. Mr. Mayo and his class have integrated CC licensed works into their daily activities, documenting it all at mrmayo.org. Instead of elaborating on the various innovative ways Mr. Mayo and his class uses CC, I’m going to let George speak for himself. The following is the interview I had with him via Skype. You can also listen to the audio here.

You were originally brought to our attention by Larry, who said he spoke to your classroom for half an hour about copyright and Creative Commons. And putting aside the fact that it’s awesome that you got half an hour of his attention, what is it that you teach and that spurred you to set up this first conversation with Larry?

Yeah, that was really cool that he gave us that much time; it was so nice of him to do that, and the way that he interacted with the kids was really awesome; he really took them seriously and gave very thoughtful responses. But what I teach this year–I’m a language arts teacher, but this year I’m teaching a film and literacy class. So it’s kind of a cool thing for middle schoolers to be able to take. My district is offering it and basically, we watch films and we make our own short films. And it’s all geared around kids building literacy skills through studying and making their own films.

So do they actually shoot their own films? Or do they use material that’s online and remix it, or do a little bit of both?

Right now, they shoot their own films. They have cameras and Apple laptops. The remixing part–I would like to; I have an after school club where we make stop motion films and we sort of mess around with some remixing in that club.

Do you encourage them to use Creative Commons licensed soundtracks or images or anything like that?

I do. That’s where, particular last year, as we started making films and I knew about all of the wealth of content online that you could use through Creative Commons, I started opening up all those resources to my students. So we’ve been using ccMixter and we use Freesound quite a bit, and so we basically tap into all those resources under the Creative Commons licenses, so it really just opens up just an amazing amount of resources. Like we drop in all this different music and sound effects, [and] it really helps the kids a lot and on their projects.

That’s really cool! So you’ve been doing that for the past year?

Yeah, I did that all last year. And even before that, as a language arts teacher, we were kind of experimenting with some of these resources, but really heavily over the last year.

How did you as a–you’re a middle school teacher right? You teach seventh and eight grades?

Right now I’m teaching sixth and seventh grade.

So how did you, as a middle school teacher, become aware of Creative Commons and decide to incorporate that into your film class?

Well one of the things is, as a teacher I was pretty confused about copyright, and when we first started making movies before I even started teaching the film class, I knew that we were using copyrighted material in some of our projects, and I just wasn’t sure what the rules were. And so as I started learning about Creative Commons I thought, as a way to learn more myself, we would start looking into it as a whole class.

So it was kind of a learning process together?

Exactly, yeah. I know we were making these video projects and posting them online, and I didn’t want to model inappropriate copyright, so I thought, well we’ll look into Creative Commons. And I just started learning more, and when you start looking into it you realize how easy it is and the wealth of resources that are out there at your fingertips. You know, it becomes really advantageous for the teacher to figure it out because the kids really get into it, it makes their projects better, and it helps us all learn about these issues of copyright. So I got into it because I wanted to learn about it, and I wanted to open up these resources for my students.

What are some of the resources that you started with and that were the most help to you?

The main one we used–last year there were two, there was ccMixter.org and there was another one called Freesound. And this year with Freesound… all last year, we took a lot of content from these websites–we just took and took. And this year we though it would be interesting if we added some to these sites as well. So we have a classroom Freesound account called “Pay Attention”, and we capture free sounds around our school with this nice digital recorder and we upload them to the account. So we’re trying to get the kids to understand that these are online communities where you take stuff, but it’s also really good to contribute content. So we’re making a point this year to rate the sounds in the songs as we download them to give feedback to the artists who uploaded them, and then we’re adding our own content that people are really downloading–we have some sounds that have been downloaded dozens of times, which the kids–they see that and they’re like wow, we’re part of this community.

Yeah, a community of sharing. That’s really cool, so how do you guys decide which license to upload your own content under?

Well the movies that we make, the stop motion movies, in the stop motion club called Longfellow Ten, those are all Creative Commons Attribution 3.0.

Ok, Attribution Only (CC BY), yeah.

And, however, with the stop motion, I like to change that to where there can be remix and mash-ups. However, movies where the kids are in it themselves, those are “all rights reserved” because they’re middle school students and we kind of just keep “all rights reserved” on those. But how are the sounds that we upload–[they] are sampling plus 1.0 license so they can take them, do anything they want, remix them, mash up, whatever.

So I guess when the kids are engaging in these projects, remixing, etc., where does the discussion about licensing and copyright issues come in? Do they see that ccMixter has Creative Commons licensed music and go, hey that icon is Creative Commons licensed music–what’s that? And you kind of go over it with them? How does that discussion come in?

Basically, it’s really just kind of a discussion that goes on all year. Creative Commons content and copyright is a discussion that we have throughout the whole school year. I have printed out some large Creative Commons posters that you guys make available on your site (which are really nice classroom posters), so we have this up and as the kids are downloading songs that they want to use, we have a format that makes sure they attribute the artist, that they cite the exact URL, that they cite the title of the track and the licensing status it’s licensed under. So they really learn about it by doing it. I don’t stand up there and lecture to them, but by going through the process they really get a grasp on the license and how it works. And why–the idea that artists want to share their stuff.

So they have an idea of–if it weren’t for the Creative Commons license the artists wouldn’t be able to share legally? Do you talk about how restrictive copyright naturally is? Or, have you gone over that with them?

Yeah, that comes up a lot because they don’t quite understand that you can’t take a 50 cent song or something and just drop it into your video.

They just do it anyway.

Yeah, and they do do it anyway because a lot of these kids are posting all kinds of content online as everybody knows, and then I’ll say, have you guys had YouTube videos taken down? And they’ll all raise their hands. And those are some questions we had for Professor Lessig.

Wow, so a lot of them have uploaded on YouTube and have gotten their stuff taken down?

Yeah, they’re all completely familiar with having videos taken down and it’s because of copyright. Some of the questions for Lessig were, you know, how are the filters on YouTube? How do they work? How does YouTube catch this? And the problems with that, and how the filters are distinguished between different types of use. So that’s another thing that’s interesting with the discussions of copyright is [that] the kids are really interested; they want to know what the rules are and they don’t know. Like particularly when one of the questions was can I take a song on iTunes and use it in a movie and upload it to YouTube, you know, again, underneath fair use there are ways you can do that, but generally, no, you really can’t. And then a lot of questions–when you talk about these issues of copyright, they’re really interested in this because, I mean they’re all using this. They’re using the website and uploading content all over the place, but they have sort of a–not a clear idea of what the rules are.

So do you find that once they–over the process of the year that they’ve been learning more and more about Creative Commons and copyright law–that once they know more about it, they start following the law more and they don’t post 50 cent videos up onto YouTube?

I think they do, and I know I’ve had some students who tell me, oh in our videos now we’re using ccMixter songs–you know, on our videos we’re making on our own at home. So a lot of this, it’s transferring to what they’re doing outside of the classroom. In my class, they can’t, I mean they have to use, they have to follow the copyright rules. But outside, I know from a few students who have told me that, they’re taking what they learn and they’re applying it to what they’re doing on their own.

So do you think that was kind of the biggest barrier to sixth and seventh graders (like breaking the law before)–[that] they just didn’t know about it?

I don’t think they had an idea. You know, even as a teacher, as far as fair use, it seems kind of complicated… I know talking to other teachers and being online and seeing what teachers say about this topic–even teachers are confused by it, so students are as well.

Yeah… I think everyone in general is confused about copyright and fair use.

But if they use Creative Commons it’s so simple. It just kind of bypasses all that complexity and it’s so clear.

Have you focused on any of the international aspects of Creative Commons? Because our licenses are global, so have you found that your students have been interacting with media from other countries or connecting even with video makers or video clips that were made in other countries under a Creative Common license? And if they have, what they think about that?

We’ve done projects in our classroom where we collaborated with students from other countries. We have projects that we’ve done but not directly related to Creative Commons. It’s very, very likely that the content they’ve downloaded is from countries besides the United States, but they don’t–that’s not something that they are actively sort of recognizing.

Right. What are these projects that are international projects?

Well we did one last year, actually a year and a half ago where we wrote a Twitter story. One classroom got the Twitter account and wrote a chapter, and then I sent it off to the next classroom and when it was done we had over a hundred kids in six different countries who added to the whole story. And then we published it as a little book and it was 140 posts total, so it was a cute little science fiction story.

So it’s kind of a story game where each student contributes a Twitter?

Yeah, but like in each classroom would be a chapter. So each classroom had 5-10 students and they would write, and we would get done with that chapter in a day and we would ship it off to the next class, and then they would add a chapter and figure out where the story goes. And it was at the 140th entry that was the ending.

So how did you coordinate among the different schools? Did you set this up beforehand, contact the schools and say we should all have Twitter accounts and do this? Or…

No it was really just on the fly, totally. Actually, we were sitting around at lunch and we came up with the idea and we sent it out, and I was talking with the teachers on Twitter… somebody in Canada, this teacher in Canada, grabbed the next chapter. We actually had like kids in England, China even, we had kids in China, like all over the place! And then another project we did recently, like a year or so ago, was the mini voices for Darfur–like March 6th we declared it Darfur day and we invited students from all over the place to come and comment on efforts to raise awareness about genocide. And we had almost 700 comments within a 24 hour period.

And this was on Twitter?

This wasn’t on Twitter; we used Twitter heavily to sort of promote it…

Was this on your blog?

Yeah, it’s on my blog.

Where is the Twitter Sci-fi story located? Is that on your blog as well?

It is, and it’s still up.

Are you planning to have any other projects kind of like that? Like another Twitter project–it might not be a Sci-fi story, it might be something else.

Yeah, I’m always open. Like one thing on my mind lately that I thought would be really interesting is to do a collaborative–and I’m just thinking middle school–is to do a remix project. I saw this thing online, following Creative Commons, and it was Infinity–you had artists create a picture, and musicians grab the picture and add a loop, soundtrack to it. This year it would be neat to do some sort of remix collaboration project where we upload all this content and everybody grabs it and remixes each others content as a way of teaching about Creative Commons and the whole idea of remixing. That’s kind of what’s floating in my mind lately and I have a couple teachers who seem like they would be interested.

One of the things I’ve always done with my projects is I make it super, super easy. Like lower the barrier to participating and just make it so stripped down and easy for people to participate so they can–I mean that’s why some of the projects have worked well, because people can jump in and it’s not very complicated. It’s very clear cut.

So have you found that your students are pretty adept at using the Internet and Web 2.0 tools? For them to just jump in and Twitter? Do your students come from a background where they have computers at home?

Yeah, many of my students, this year they do. Like in the past as a Language Arts teacher we used lots of blogs and wikis. When I’m just teaching this film class we share many of our movies online on a blog, but the kids aren’t actively blogging themselves in this video class. In the past I’ve had all my kids blogging, they’ve had individual blogs and stuff, but with the film class we’re just focusing on the movies and we share our movies on one collective blog.

So have you come across students that aren’t as comfortable with technology? And if you have, how have you dealt with their skills?

Well, yeah, there seems to be… even just going on ccMixter, downloading a song and putting it on a flash drive, putting it into the Mac and grabbing the song–just simple things like that, some kids aren’t quite clear on some of those things. And since we’re all together, we’re all sort of learning and doing this, you find that kids help each other, and the kids that don’t quite have a grasp on some of the things we’re doing quickly learn by watching and being helped by other students.

So I guess, going back to your Skype conversation with Lawrence Lessig, I was wondering about your students’ reactions to Larry. After they finished interviewing him, what did they think about Larry? Did they feel like they got their questions answered?

Well, I think they were really proud of themselves because you know he had answered the question and there wasn’t any sort of playing around, and I think it helped clarify some of the issues. I mean one thing that stood out–they had a lot of questions about peer to peer file sharing sites and they’re not clear why that’s illegal, and then Mr. Lessig spent some time talking to them about that. I think that overall, they felt really good about the conversation. That was the last week… We haven’t had a lot of reflection time with that particular class (yet) but I know things went well. We had a bunch of students come in from other classes to watch that, [and] the principal was in it. I thought we had a really good conversation and the students felt good about it. Mr. Lessig was really awesome with the way he talked to and treated them.

What do you consider was the most interesting student question and answer from Larry?

I thought the questions about the filters on YouTube and how that can start to restrict–he was mentioning if the content industry has their way, YouTube would have heavy filters that would really limit the YouTube as we know it now. We were interested in that, and then another thing that I was really surprised by is their questions about peer to peer file sharing. Because they all used the site, they all use various peer to peer file sharing sites to basically download copyrighted content, and they weren’t aware that was really illegal, so that really helped them clarify that for them.

What did Larry say about that?

Well, he said–another question was, why are these sites allowed to exist if everybody’s using them illegally? And he kind of clarified how peer to peer file sharing sites can be used legally. I mean, if you’re downloading CC licensed content, you can do that. And he went up and talked about how these make it possible for artists to sort of distribute their content to a larger number of people, and he explained how the supreme court said these sites are allowed to exist, even though as a tool people are using them for illegal things, he said the tool itself is not an illegal tool.

So this is kind of off topic, or it’s more about yourself, because I remember middle school teachers–I remember when I was in middle school myself, and I hated it, because you know, middle school is just known as the age when students are not at their best, and I was wondering what in the world made you want to be a middle school teacher? Because you’re obviously really involved with your kids and really involved with copyright and Creative Commons issues and what made you, I guess, want to be a middle school teacher first of all and second of all, to delve into these issues with your students? I mean, for instance, do you have any background in your schooling with open issues or copyright issues?

I don’t, actually. I was actually a construction worker and a truck driver for a number of years. I dropped out of college. And I always wanted to be a teacher so I went back to night school for like a number of years. In San Diego I got my teaching degree. So I come to teaching after having a lot of other jobs. I just always wanted to do it.

And middle school–I don’t know what it is, I really like teaching middle school students. I have a sub this week, I was talking to him yesterday and he was telling me how hard middle school is, you have to deal with behavior issues and it’s kind of a tough age group. But it’s really–something about middle school appeals to me. It’s kind of crazy, you never know–you know the kids are going through so many different changes, and there’s so much psychology involved, and sort of like getting the problem students and the good students and making everything move along. It’s kind of just mentally appealing. And also I like the creative aspect, where you can do all these creative things, you have a lot of room to sort of do out-of-the-box types of things. If they see that the kids are engaged and learning the content, you really can kind of go out there and do some kind of crazy stuff, so it’s kind of open in that regard. So we have a lot of fun and do some kind of nutty, you know, just projects that are a little unusual sometimes.

Reflecting back to your own middle school experience, how would you compare yourself with the kids of this generation? Do you think they’re all that different from you? Do you think they’re much more–obviously the Internet just recently took off–has that made things different about the way you teach and the way you were taught in middle school?

I don’t even remember. I mean I can remember one or two of my middle school teachers. I don’t remember anything particularly that I learned or like what I was–

I don’t either.

I think it’s sort of a gray area, the whole experience of middle school. I remember being really awkward and skinny and self conscious. And I was in Texas and we were still using typewriters. We didn’t have computers when I graduated from high school–there weren’t even computers yet in the buildings really. So I mean it’s just so different now. The kids today–all they know is the Internet, they grew up with it. So not a lot of parallels I don’t think, and I sort of blacked out my middle school years, to tell you the truth.

They were too traumatic. Do you think your kids are awkward too at this age? Or do you think they’re a little bit more well adjusted than we were?

I guess a little bit of everything?

What do you think the value of them learning about Creative Commons now and copyright issues will be for their future?

Well, I think as they–I think these are skills that are worthwhile knowing as they move on. ‘Cause the whole world is sort of going into this Web 2.0 and everybody is sharing and adding content, and I guess as Mr. Lessig was saying, “the Read Write Web,” so it’s good to have them understand these basic issues of copyright and to open up the world of Creative Commons to them. So I just think that it will be helpful to them as they go through knowing that they have all these resources and that they can sort of–what they make and create can be added to all the content that’s out there. They’re not just consumers, as Mr. Lessig would say, they’re artists themselves.

What advice would you have for other teachers? A lot of teachers are in the dark about copyright and Creative Commons just as you and I probably were a few years ago. What advice would you have for them to incorporate that kind of education into their classrooms and why should they do so?

Photo by Mr. Mayo CC BY-NC

I think why is just to show their students how much great resources are out there for them to use. That’s a great entry point. And also if they’re doing a project, like many classrooms now are doing multimedia projects, it’s worth the teacher’s effort to go to a site like Freesound.org, which is a really great community for classrooms because it’s a very–it’s middle school safe as far as being appropriate. If you find one of these sites that have Creative Commons content and just allow your students to investigate it for possibilities of sound effects and music to use in their multimedia projects, it doesn’t even have to be music. Obviously, Archive.org has all these resources, so I think it’s very much in the teacher’s interest to open up the doors for the students to see this stuff, and I mean it’s just so easy. Right click, download, download, I mean you can grab this stuff so quickly that it’s just crazy not to allow kids the access to this content… It’s a good entryway into starting a conversation about copyright.

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