MSc Web Science: Week 0

FPSE Faculty Welcome 2013/Tim O’Riordan ©2013/CC BY 2.0 UK

Monday, 23 September

Faculty Welcome

  • Electronics and Computer Science (Prof Neil White – Head of ECS) – “we’re research-focused”
  • The Optical Research Centre (Prof Rob Eason – Deputy Head of ORC) – “we’re dedicated to Photonics”, “there’s going to be an Internet ‘capacity crunch’ in 2020”
  • Jumpstart 2013  (Joyce Lewis) – “I will contact you by email”
  • Health and Safety  (Mike Bartlett) – “the Mountbatten Building burned down in 2005 – and they’re still talking about it”
  • Jumpstart Challenge (Trishia Poplawska) – “an opportunity to get to know each other”

Tuesday, 24 September

MSc Welcome

  • Prof Kees De Groot, Prog Director
  • Practice past exams (available on sussed)
  • Use mentors.
  • Andy ‘Biscuits’ Newton
  • STACS (Student Teaching & Computing Support)
  • x24494 59/3207
  • Free software/hardware loans
  • Help with coursework, programming help, coding support, projects
  • They want to be given complicated programming questions
  • Free virtual machines for projects
  • “Learn Linux”
  • See: https://secure.ecs.soton.ac.uk
  • Academic Integrity
  • Mark Zwolinski,  Deputy Head ECS Education
  • 2 students were ejected for plagiarism in 2012/13
  • See: http://www.academicintegrity.soton.ac.uk
  • Faculty student office team
  • B59 reception.
  • fpse-student@soton.ac.uk, X22909
  • Eric Cooke, ECS Senior Tutors
  • email stutor (ask at zepler reception)
  • 12 modules, 6 per semester = 120 credits
  • pass mark 40%, must average 50% to progress to dissertation
  • Fiona Nichols, Library
  • see: library.soton.ac.uk
  • subject guide>ecs>info skills>taught msc>
  • 10 October – searching for pg’s
  • ECS books are on level 3 Hartley
  • Delphis – single search incls. journal articles

MSc Web Science Welcome

  • Met: Dr Sepi Chakaveh (ex Fraunhofer Society – “reading data files changes the arrangement of bits in the file”) and Manuel León, a  researcher who is starting first year of PhD exploring the use and reception of MOOCs by academics.
  • Ice breaker:
    Circle – toss ball of string around and give name, subject and ‘fun fact’ about yourself (my fun fact: I have no ‘fun facts’ – then immediately thought of several).
  • Team building:
    – Support a tennis ball as close to the ceiling as possible using items measuring no more than 30cms.
    – What extra curricula activities can WS do?

    Team 4 ideas
  • Les Carr: Don’t have to attend all lectures (these will be pointed out); Claire Wyatt is the fount of all knowledge; “Conferences are work – not ‘holidays'”
  • Not all WS MSc’s are on Facebook

Thursday, 26 September

Registration

Introduction to Digital Literacies Champions

  • Lisa Harris
  • Voluntary but some paid project work
  • Curation of archive for uni events
  • Media creation competition – winner goes to Digital Media Europe 2014
  • ‘Literacies’ viewed from marketing/business perspective. Reputation?
  • It should be more about reputation building – so use rss feeds, google scholar updates, scoop.it, twitter, facebook, linkedin, wordpress blog (week notes), google apps (video not.es, rss, screen capture). Think of it as building a portfolio…
  • Mozilla is collaborating with the world to develop an open badge ecosystem that makes it possible to recognize skills, literacies, and interests across the web.
  • Looking for project ideas that DCs can help with.
  • Volunteers to revamp website.
  • Meeting: 30 September. Practicalities of being a DC – with Fiona Harvey.
  • Workshop: 2 October. Use phones to create video – with Simon Morice.
  • Creative Digifest: 19 November at Grand Harbour Hotel

Vint Cerf: What’s happening on the Internet?

A few weeks ago I attended the launch of the Zepler Institute at the University of Southampton, where Google Vice President and Internet Evangelist, Vint Cerf gave a talk on his contribution to, and the future of the ‘net. I had my trusty little Kodak Zi8 camera with me and recorded his presentation from my seat near the front of the lecture theatre. I’ve uploaded the first 10 minutes of the video in two parts.

In the first part Cerf talks about his initial experiments with ARPANET with his colleague, Bob Kahn and the team at Stanford University in the early 70s – including sending video and audio over the network.

In part 2, Cerf talks about Internet connectivity, the significance of mobile devices, and current developments of the ‘net – including security, scale and the ‘smart grid’.

A workflow to evaluate online tools for learning

Web 2.0 Expo Hall/TopRank Online Marketing © 2008/CC-BY 2.0

Web-based technologies are changing the way we live, work and learn at an unprecedented rate and in many unpredictable ways. YouTube, Facebook, Scoop.it, Pinterest and many other tools, all seem to hold out quick, easy and inexpensive solutions – solutions that don’t appear to require an army of IT specialists to support, and which promise much in the way of improved and relevant interactions.

As an individual, trying out a new online tool is reasonably straightforward, but, as educators, what should we be looking for? How should we start to evaluate these tools to see if they will work for us and our students? There are very many permutations to look at here. We all have our own approaches to teaching, and there are some areas of technology we may feel happier with than others. I think it’s fair to say that we are, each of us, unique in our approach to teaching and learning – and how we use these tools will reflect that uniqueness.

However there are some key principles we can apply to evaluation that can help us begin to choose what’s best for us and our students, and in this blog post I propose a workflow as a guide to how we can go about this. I suggest that there are two key questions we need to ask ourselves when exploring a platform or tool for use in teaching and learning. First and foremost is “Will it work?” – for our institution, ourselves as educators and our learners – and secondly within what learning context can we place this tool? I suggest three main considerations:

  • A technical test – including a pragmatic and a usability review
  • A pedagogy test – based on Chickering and Gamson’s ‘7 Principles of Good Practice’.
  • A learning design review – based on a modified Dial-e framework.

The technical test has two aspects – a usability review (which looks at how well the interface works), and a pragmatic review.

Pragmatic review

The pragmatic review includes consideration of 5 interrelated areas:

1. Does the service work equally well in the different browsers and mobile devices that you and your students use?
This is important as we want the opportunities for learning to be available in a timely manner and this means supporting the variety of devices that we and our students use on a daily basis.

2. Are the outputs re-usable? This includes the ability to download videos, slideshows, essays, notes and other outputs – so that they can be used in other environments.

3. Many online tools can accommodate different ways of learning – for example using video to record achievement instead of or in addition to reflective writing. However not all tools allow access to learners with disabilities. So you should consider:

  • Can you use it with a screen reader?
  • Can you easily add closed captions or transcripts to audio and video?

Consult your institutions’ Disability Support Team or contact the experts at JISC TechDis when considering new tools to support learning.

4. How reliable is the service, including:

  • Robustness of the service. Does the tool have a record of going off line? There have been instances of cloud services losing data – something that could be disastrous if you’re at the end of a module and have no fallback position.
  • Some free third party services have also been known to change to costly subscription services with little notice to users .
  • Many tools are in a continual state of development and may change the way they work to a lesser or greater degree without notice. When running a busy module, this type of change will add to your and your learners work, and could have a demoralising effect.

5. What are the terms of service?

  • You and your institution need to be aware of your obligations under data protection legislation.
  • You need to make your learners aware of the implications of sharing private data online and the risks associated with it.

This is an important area that is best dealt with by experts. I recommend JISC Legal’s advice on this.

Usability review

Alongside these ‘pragmatic’ considerations it’s important to look at how the tool actually works in practice. Although learning how to use online tools is important for developing digital literacy – some tools are easier to use than others and, when confronted with a new interface it’s worth spending some time exploring how easy it is to use.

The key questions you need to ask are:

  • Does the interface support all the tasks expected by the user? That’s in terms of help and support documentation, as well as the underlying functionality.
  • Are there conflicts in the functionality of interface? Although most tool developers engage in beta testing, not all wrinkles are necessarily ironed out before a tool goes live. You should robustly test the tool to ensure that it does what you want it to do.
  • Does functionality change the nature of the underlying task? If your students have to spend a significant amount of time learning the interface, are they going to have enough time on task? What can you do to reduce the cognitive load of learning how to use the tool?

Pedagogy test

I think Chickering and Gamson’s ‘7 Principles of Good Practice in Undergraduate Education’ provide a sound basis for evaluating the usefulness of a tool to support teaching and learning. The principles highlight the importance of:

  • Good communication channels between learners, and between learners and staff
  • Opportunities for cooperation among students.
  • Time on task – ensuring that technology is employed to focus on tasks not on wrangling difficult and poorly designed tools.
  • Supporting diverse methods and means of learning. Online tools present opportunities to use digital media, video, images, sound, mapping and reflective activities that can enable a more diverse and richer approach to learning than has hitherto been possible
  • Setting high expectations. The facility of online tools and web 2.0 technologies to readily share practice and reflection has the potential to improve learners’ performance. The web affords access the best the world has to offer online and this can be used as a springboard for learning. But it’s equally true that digital technologies can be used for superficial activities that undermine academic standards. In Rethinking University Education, Diane Laurillard warns that:“…new technology easily supports a fragmented, informational view of knowledge…and is in danger of promulgating only that.” (Laurillard, 2002, p227).

We need to ensure that the elements that distinguish academic learning (the ability to analyse, evaluate, articulate and represent experience effectively) are made explicit when designing and delivering programmes of learning that incorporate these tools.

While evaluating an online tool to ensure that it will work the way you want (and demonstrate a real benefit to your learners) you may also assess what type of learning can take place and explore approaches to learning design.

Learning Design

In this area I would like put forward the Dial-e Framework as a good starting point for modeling your approach. This framework was developed by Simon Atkinson and Kevin Burden to support the use of digitized archive films held by the Newsfilm Online collection – now part of JISC MediaHub. They identified 10 discrete learning designs, which I have simplified to 4 main categories:

  • Stimulus
    The use of tools and content to stimulate interest and engagement – something that quickly engages learners to consider a new concept or approach.
  • Investigation
    Which would typically involve using digital technology to research, understand and apply processes or concepts – for example watching and engaging with an online ‘how-to’ video.
  • Analysis
    Exploring textual qualities in, for example, film or media studies, where learners analyse editing, framing, lighting, sound design etc – as well as alternative perspectives, where tools and content are used to understand and empathise with others.
  • Creation
    Which involves the evaluation and application of tools, content and methods to create a project – either using original content or from re-usable sources or both.

New technologies call for new approaches to pedagogy – and I think that this modified approach to the Dial-e framework provides a good starting point for considering the uses to which we can put both digital tools and content.

What’s your approach?

In this post I’ve attempted to provide a workflow which I hope you will find useful. This is important and evolving subject and I am very interested to hear how you approach evaluation.

References:

  • Diana Laurillard (2002). Rethinking University Teaching: a conversational framework for the effective use of learning technologies, 2nd edition. Routledge, London.
  • Arthur W. Chickering and Zelda F. Gamson (1987). Seven principles for good practice in undergraduate education. In American Association of Higher Education Bulletin vol.39 no.7 pp.3-7

Further reading:

The Centre for Learning and Performance Teachnologies: The Social Learning Handbook
Edudemic: Facebook Guidelines for Educators
JISC Legal: Facing up to Facebook
Terms of Service; Didn’t Read – A user rights initiative to rate and label website terms & privacy policies, from very good Class A to very bad Class E.
We-Share – an infrastructure that collects descriptions of ICT tools available at the Web of Data and adapts them to be used for educational purposes.

How I made my version of ‘Pretty Saro’

In this post I present a screen recording (screencast) that demonstrates the tools referred to in my previous post, ‘Using ‘open’ resources for digital storytelling’. To set the scene, here’s my video, Pretty Saro, that I refer to in the demo:

In this 10 minute screencast I talk through how I approached making the Pretty Saro video and demonstrate using Creative Commons licensed audio on Soundcloud, archive photographs from Flickr Commons, and the online editing tool WeVideo:

Sources:
Music: Pretty Saro by Piers Cawley on Soundcloud – CC-BY-NC-SA.
Photographs: ‘1930s – 1940s in Color’, Library of Congress on Flickr – No known copyright restrictions.

Using ‘open’ resources for digital storytelling

Pretty Saro by Bob Dylan

Pretty Saro by P D Cawley

The recent release of previously unpublished performances by Bob Dylan and the associated Pretty Saro video, produced by Jennifer Lebeau, which makes extensive use of archive photographs hosted by the US Library of Congress, has highlighted the usefulness of ‘open’ resources for digital storytelling. In the examples at the top of this post you can see Bob Dylan’s version alongside a version I’ve produced using some of the same ‘open’ online content and simple online tools. In this post I aim to provide advice on using these types of resource to create digital stories. (Please note: I am not a legal expert and this is not legal advice).

There are a huge number of photographs published on the internet. Like all intellectual property, these images belong to someone, and if you want to re-use them you need to find out if the use you have in mind is permissible. Before looking at ‘open’ archives, I should mention that there are many sites (e.g. iStockphoto, Pond5) which sell “copyright cleared” content and where, for a fee, you are granted certain rights to reuse. These ‘royalty-free/rights managed’ sites are not covered in this post,  rather I aim to provide tips for using ‘open’ or ‘free to use’ digital photographs and other digital content.

  1. What is ‘open’ content?
    By ‘open’ content I mean digital images, photographs, music and video that have been been made explicitly available for use without payment. Being ‘open’ doesn’t necessarily allow you to do what you like with the content, but you may be permitted to re-use within certain restrictions. For example, content owners often use ‘Creative Commons’ (CC) licenses. These licenses have been developed to enable owners to make it very clear to others, in non-legal language, what it is permissible to do with their content.
  2. A word of caution
    When looking for ‘open’ content online it is good practice to treat copyright, and Creative Commons notices with a degree of skepticism. People uploading content to the Internet may not be fully aware of all the rights included in the content they upload and may mistakenly apply a CC license or make an erroneous claim that it is in the Public Domain (and therefore free for anyone to use for whatever purpose). Although you can’t always be 100% sure of the origin and ownership (provenance) of all content, you can take steps to manage the risks involved (for more on this see tip #9).
  3. Use reliable sources
    The best approach is to search for images and other content in collections that have been uploaded by bona fide public organisations, this is because it is more likely that they have undertaken a thorough audit of the provenance of each item they upload. Because many public institutions use the photo sharing site, Flickr, to host their content, this site is rapidly becoming the ‘go-to’ site for ‘open’ photographs, images, and video.
    I have started a Google spreadsheet containing a list of useful Flickr collections that I have found – some of which I have used. This list is open for comment – so if you’ve found other useful resources, please let me know.
  4. Licensing in Flickr
    Flickr enables users to apply Creative Commons licenses to their content – from the moderately restrictive ”attribution only’ license (CC-BY) to the more restrictive ‘attribution, non-commercial, share-alike’ (CC BY-NC-SA) or ‘attribution, non-commercial, no derivatives (CC BY-NC-ND) licenses. Flickr users who would like you to approach them first before using their content apply an ‘All Rights Reserved’ notice to their uploads.
    Public organisations often use the term “No known copyright restrictions” to describe the copyright status of their content. Sometimes this means that as far as their research shows, no evidence has been found to show that restrictions apply. This is the copyright status of all the photographs and video used in the Pretty Saro videos shown above. Something to watch out for, however, is when the term is used to describe content that is owned by an institution who are making it available for private, research, educational and noncommercial usage only. My advice? Always check copyright status before using.
  5. Downloaded images
    If you plan to edit high resolution videos with the images you’ve chosen you will need to download the largest size you can find, and either resize or crop the image to fit the 1920 x 1080 dimensions of HD video. You can use images with smaller dimensions, but this will result in a lower quality, fuzzy, image.
    Use a desktop image editor (e.g. Gimp or Inkscape) if you need to process your images before using them in your video, or use an online image editor (e.g.  Pixlr.com).
  6. Move it
    The photographs and images in the Bob Dylan video at the top of the page have been animated in a style made famous by documentary director Ken Burns – a style often referred to as the ‘Ken Burns effect’. Animating images in this way can be achieved very effectively in many editing packages as well as motion graphics programs like Adobe After Effects. If you’re working within a tight budget, an online slide show editor like Slide.ly or an online video editor like Wevideo can be used to produce this effect quite effectively.
  7. Contact and attribute
    If you use someone’s content, you should let them know. Not only is it good manners to tell them where and how it’s being used, you can also check if your interpretation of the copyright status is correct and find out the proper name they would like to be attributed as. In addition it can act as a useful (but not definitive) check that they have sufficient rights to allow re-use. If you need to change the terms of use (e.g. it is sometimes difficult to ‘share-alike’), you can also politely ask owners to permit the use you prefer.
    Keep a record of all your correspondence – it may come is useful if there’s a dispute over your usage at a later date.
  8. Attribute
    Your acknowledgement, credit or attribution of the images and other content you have used should allow anyone to find the source of the content, the owner and the type of license used. An appropriate format for attribution is:
    Title of image and resource number, if applicable (with URL to image source)/Name of owner and creation year/License (with URL to Creative Commons license or relevant “No known copyright restrictions” information).
  9. Have a ‘risk management’ strategy
    This is a complex issue which space does not allow me to go into detail about here. There are some very useful resources which can provide expert guidance on this issue (listed below). The essentials are:
    a) To help you avoid potential problems with disputed ownership, only use content provided by established, reputable sources (e.g. public organisations, museums, national archives) and check before you use.
    b) Contact owners before you use their content.
    c) Be prepared to ‘take down’ (i.e. suspend access to) within 24 hours anything you create using third-party content, while you investigate disputes.
    d) Err on the side of caution. If a claim to ownership, or assertion of public domain status looks odd (e.g. a photograph of a trademarked logo not attributed to the owner of the trademark), it probably is – so don’t use it.
  10. Put it all together
    Once you’ve found, checked, and downloaded the content you need for your digital storytelling project, you’ll need to put it all together. In my next post I show how I made my version of  Pretty Saro using content from Soundcloud Commons and Flickr Commons, and the online editing tool WeVideo.

Useful resources:
Web2Rights – Toolkits for practical, pragmatic and relevant Intellectual Property Rights (IPR) and other legal issues.
JISC Legal  – Legal Guidance for ICT Use in Education, Research and External Engagement.

With thanks to Theo Kuechel for inspiring this post.