Comp113 Lecture 7 Feb 08

See the version with audio and slides: http://goo.gl/gkZR8. These are the slides from a seminar presentation that I presented on 28 June at the University of Otago. You can hear (and download) the audio (MP3) on UniTube (http://goo.gl/3F7IR). Even better, you can see (and download) the slides and hear the audio together on my blog (http://goo.gl/gkZR8). Feel free to contact me at mark.mcguire@otago.ac.nz. "Open Educational Resources: It’s not the artifact, it’s the process". Presented at the Open Educational Resources Seminar, University of Otago, 28 June 2012 Abstract If we think of OERs as we think of physical artifacts, we might focus on their design, production, storage and distribution. We could quantify their number, calculate their popularity, and track their use. However, in open, distributed, networked learning environments, the emphasis is not be on the resources but on the engagement between participants who create, use, modify, and share experiences. Resources can be used to prompt and fuel conversations, and the results of one conversation can be saved and used as fuel for another, but it is the way in which they are created and used that determines their effectiveness in learning contexts. In this talk, I will use examples from several open courses to explore the nature of digital resources and discuss how they are used to enable constructive engagements between networked learners. I suggest that, although appropriate resources are an important part of the learning process, we need to pay more attention to the design of the structures and networks in which they are generated and circulated.

COMP 113 Lecture on 3D Worlds 7 Feb 2008

Negócios Tecnologia

3D Worlds

Mark McGuire
Lecturer, Dept. of Design Studies
COMP 113 7 Feb. 2008

3D Worlds
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To hear an audio recording while viewing slides, see my blog: http://goo.gl/ffTeMm Surveillance, Copyright, Privacy The End of the Open Internet Dunedin, New Zealand Jan 30 – Feb 1, 2014 Dr Mark McGuire University of Otago, Dunedin, NZ email: mark.mcguire@otago.ac.nz Twitter: @mark_mcguire Blog: http://markmcguire.net/ Dept.: http://www.otago.ac.nz/appliedsciences/staff/markmcguire.html This presentation is covered by a Creative Commons CC-BY (attribution only) licence unless otherwise stated http://creativecommons.org/licenses/by/3.0/nz/ Copyright, Creative Commons and Libre Culture in New Zealand A set of 33 Tweets with related links, which were published as the presentation was delivered, can be found here: http://goo.gl/aCYdHe Abstract Copyright, Creative Commons and Libre Culture in New Zealand Dr Mark McGuire, University of Otago, New Zealand In 2001, Lawrence Lessig pointed out that, when considering of the ownership, regulation and governance of the virtual commons, we must take into account the “physical” layer, the “logical” or “code” layer, and the “content” layer, which includes the text, images, music, animations, movies and other digital material accessed over the internet. In an effort to free up the “content” layer, creativecommons.org went online in 2002, allowing individuals to attach “some rights reserved” licences to their work. This development was in response to changes in US copyright laws that the Creative Commons founders (including Lessig) argued hindered access to creative works. Since then, the Creative Commons Licenses have been ported to over fifty jurisdictions, including New Zealand. As in the US, copyright has become more restrictive in New Zealand. The introduction of the “Copyright (Infringing File Sharing) Amendment Act 2011” enables owners of copyrighted works to penalize individuals for violating their copyright through online file sharing without providing adequate protection from unfair prosecution. The Trans Pacific Partnership (TPP), a trade agreement that New Zealand is negotiating with the US and nine other countries, could extend the length of copyright of creative work from the life of the author plus 50 years after his or her death, by a further 20 years. As Yochai Benkler notes (2006), formal institutions are working to extend the scope and reach of excusive rights over cultural resources, and the primary countervailing force against exclusivity is the cultural and social response represented by the nascent “free culture” movement and the growing individual practice of sharing work with others to create a domain of free resources for common use. In this paper, I discuss institutional efforts to strengthen copyright in New Zealand and discuss the use of Creative Commons licenses as an alternative.

See my blog for draft paper (3,700 words): goo.gl/J5RdsY Abstract As Rainie and Wellman explain in Networked (2012) the rise of the Internet, social networks and mobile technologies have resulted in media experiences that are personal, multiuser, multitasking and multithreaded. They refer to this new social operating system as “networked individualism”. In Spreadable Media (2013), Jenkins et al. argue that our networked culture is characterized by instantaneous, informal communication through multiple channels in which the audience participates in the creation of value and meaning, and in the circulation of media and messages. In this paper, I use the concepts of networked individualism and spreadable media in an examination of projects that use Twitter and Instagram to create and share micro-narratives. In 140 Illustrated Haikus, an iPhone and Instagram were used to document a month-long trip to three countries in late 2012. The resulting photos and short texts were published simultaneously via Instagram, Twitter, Facebook, Flickr, email and Tumblr (http://marksjourney.tumblr.com/). In addition to the limitations imposed by time and technology, captions for the photos were written on the spot in the form of a haiku. These constraints were found to help, rather than hinder, the creative process. Austin Kleon is a writer and artist who creates “Newspaper Blackout Poetry” by selecting a newspaper, choosing a few key words, and blacking out the rest with a marker. He shares the results with more than 28,000 followers on Twitter (@austinkleon), many of whom tweet their own blackout poems. Kleon also posts his poems to a website (http://newspaperblackout.com/), where others are encouraged to contribute their own efforts. An advocate of sharing work-in-progress, Kleon’s approach exemplifies the process-based, conversational nature of networked creative practice. Desert Friends, the “World’s First Instagram TV Show” is about three individuals who are transported to a distant galaxy and try to find their way back to Palm Springs (http://instagram.com/desertfriends). The filmmakers uploaded the first installment on 23 June 2013, and have continued to publish about four 15-second “shows” each week. Shot in black and white using the Instagram App on an iPhone, the programs emulate the style of low budget science fiction movies of the 1950s and 1960s. By episode number 63, the Desert Friends Instagram stream had attracted over 25,000 followers. This production demonstrates that filmmakers can create their own “TV show” with their own gear, and broadcast it over channels that anyone can use. These case studies show that, by regularly sharing ideas and processes as well as outcomes online, individuals become part of a creative ecology that enables visibility, mutual support, collaboration, and better work.

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