Creative Commons Remix assignment

I'm about at the half-way point in the Creative Commons Accreditation course I am doing this summer. The video above is a submission for this task:

 Create a remix in any medium (e.g., photo, video, audio) for use in a course you teach. If you aren't currently teaching a course, create a remix for use in a future offering of the CC Certification course. Your remix must meet the following criteria:

• be comprised of at least five (5) pre-existing CC licensed works,
• contain appropriate attribution for each component work (remember to think TASL!), and
• be a legal remix (that is, the licenses of all component works must be compatible).

You are welcome to include your own original work in the remix but this is not required. Be sure to create a remix and not merely a collection.

For inspiration, see Montgomery College’s Open Pedegogy Assignments (click on one of the links under Assignments on the left): https://cms.montgomerycollege.edu/mc-open/unesco-sdg/ (Links to an external site.)Links to an external site..

Post your remix online. License it with a Creative Commons license (be careful that the license you choose is acceptable given the terms of the component works included in your remix!). 

I will use this remix as part of my new module LN306 Developing Teaching in Languages. This year will be the second iteration of this course and I found from feedback last year that my students, although they appreciated open education as "a good thing",  it wasn't very clear to them what it meant for their practice. The student group are linguists who have worked in schools abroad and/or worked as tutors and are considering entering a career in teaching when they complete their degree. I wanted the remix to demonstrate what can be achieved and why it matters to engage with open practice. 

The remix (originally created as a contribution to video in education project ViLTE)  includes sections taken from RIP A Remix Manifesto (already a remix of many other works, licenced CC BY 3.0 and my own additions including an image from Flickr which uses a licence which prevents derivatives. It exemplifies the discussion I co-wrote about the issues faced by language educators when using contemporary cultural artefacts as produsage in their courses. I have messaged the poster of this image to see if he is OK with its use in this context. I have used the image without any changes but this licence would prevent me applying a CC BY licence on the finished work so I need the permission of the owner in order to include it. If nothing is forthcoming I will have to replace it with another image. Update: the video above is a remix again as no response came from the ship image creator. (UPDATE 2: The original image creator responded to me via Flickr messaging to ask a few further questions about the purpose I wanted to put the image to. Although I had already removed the image, it was good to see that contacting an owner through the community on Flickr could work). This serves as a good reminder of the detailed level of understanding of Creative Commons licencing needed by educators in order to operate in the digital domain. Real scholarship is required to work confidently online. 

Once the remix was ready to share I uploaded it to my YouTube channel. Another problem: YouTube do not have a full selection of CC licences available, just CC BY. This is my preferred licensing option in any case and (provided the Flickr image owner gives me permission) is fine for this remix. 

I am submitting my assignment within a blog post (my blog is CC BY) as I think the context and issues for remixing are as important as completing the assignment. Here are the questions that arise during the remixing process:

• when remixing using content which explicitly allows remixing (eg CC BY) where do you attribute? In the video itself? In the description on the streaming site? Is a link within the blog post enough to provide the TASL requirements?
• If the licence on an image (for example) is too restrictive for inclusion, can this be ignored if the owner gives his/her permission for your use?
• What if the sharing site used (eg. You Tube) does not support the full suite of CC licences? How can we influence site providers to offer better display of licensing options?

Finally I decided to create a further remix of my own resources around open educational practice:

Video in language teaching

The video above is a remix which uses extracts from RIP: A remix manifesto in order to convey the importance of copyright knowledge to the teaching profession and to explain how Creative Commons licencing can support a creative, sustainable learning environment online through open educational practice. I created it as a contribution to the ViLTE project, funded by the British Council.

Further detail about the importance of creativity in the digital domain and its relevance to language teaching in particular is explained in this jointly authored article on Produsage  published in the education policy analysis archives journal. 

I was also involved in the EU project Video for All where lots of teaching resources were shared for language teachers to help them cope with the complex landscape of digital media production in their teaching. Unfortunately for us the site (hosted by a pain project manager) has been taken down at the project's end of life as the budget has run out. I find that outrageous and I am trying to bring it to the notice of the funders. The resources were created as open educational resources and  need ongoing support. The Wordpress site which was the host for our work would not be expensive but I do not have any say in budget, I am just a teacher. Does seem strange to me though that tech companies and even project managers of EU projects proclaim their interest in education but often do little to support the real needs of educators or to maintain resources we need. It bears witness to the fact that some are clearly only in it for the money. 

The key word in all of this work is the word open. Kaltura have worked hard to support open standards in video, as a practitioner I work in the open because I believe everyone should have access to education and I also believe that through an open web I can network and learn from other educators. If you get the chance to watch the whole of the RIP video on Vimeo you will see that openness (open data, open education, open source, open access, open practice etc) are key to making headway in solving big problems. Problems we should no longer assume will be solved by politicians - that ship has sailed and we can be clear that they also by and large are busy protecting their own interests. We need to ask ourselves what really matters.  I have of course kept a copy of my video, added it to my YouTube channel and Kaltura gallery and shared widely as well as passing the file to the ViLTE project to help ensure its existence as an OER beyond the confines of a project. 

Update: March 2019 - Kaltura have now closed my free open gallery - so just as well I maintain other ways to share my work!

The invisible permaculture of learning and teaching.

The importance of open educational practice.

I'm no artist as you can see on this my first attempt to sketch the role of open educational practice in supporting the sustainability of teaching using open educational resources. Clearly the image borrows from the water cycle. Admittedly it is stretching the analogy a little, the earth's natural climate is not driving this, rather it shows how the agency of individual practitioners can drive the sustainability of learning resources. OERs on their own would repose in their repository, we would see the sunlight glint from their surface and congratulate ourselves on a sea of wonderful "content". However, once practitioners get involved in the uptake, remixing, improving and shring of OERs, then the magic can really happen. Not only do the resources become more visible, moving further into the landscape. As they travel they bring new life, new connections between practitioners, new ideas, new ways of working. A vital tool in this permaculture is provided to the practitioners in the form of Creative Commons licences.

A culture of sharing has long existed in schools, the workload is intense and collegiality important in order to thrive. However, sharing a worksheet with a colleague does not always transfer to the digital domain. Back in 2009 my friend Kate Borthwick presented the results of work which was undertaken in the then languages subject centre around a repository called Language Box. A key difference in the interface of this system was the understanding that sharing is a social practice, it works best when we know who we are sharing with, when we get feedback and accreditation for our work. This emotional aspect, very familiar to those who engage with social media, seemed to increase the engagement of students who pilotted the resources, they were more likely to comment and remix the resources. 

Today I was able to participate in a Virtually Connecting session with participants in the #digped conference in the USA. This is another great way to use technology to embrace the human need to connect with others and thus enhance and intensify the international connections and discussions around teaching and learning in the age of the internet. I had been following the #digped discussions on twitter and it was clear to me that these folk (many of whom I was already following on twitter) share my passion for the intelligent use of technology and the use of a critical digital lens when implementing learning technologies. fortunately my social media skills are greater than my sketching so I will be actively continuing my sharing with these folk with the aim of ensuring that the digital agenda is not dominated by the "solution providers" who will be selling their AI driven systems as ways to save money in education but by the nature of human interactions which are so rich in often invisible or unseen ways.

“Why as a species are we so invested in the future of AI? Why aren’t we investing as much in people? That’s not a technical question. It’s a moral question.” @anya1anya #digped

— Digital Pedagogy Lab (@DigPedLab) 30 July 2018

As for the sketching, my PLN made me do it! Encouraged by them I will try new things, one day I may be a better sketchnoter, and even if that doesn't happen I will have confronted an aspect of my life that I neglected after a bad experience during my schooling. 

Creative Commons Accreditation

This week I have started a 10 week course of study towards attaining accreditation in my use of Creative Commons licensing. I am joining a group of about 30 international educators who, like me, see the value of formalising our knowledge and skills in the area of open educational practice. According to our conversations on the course forum man, also like me, are asked about our use of CC licences and want to acquire a greater in depth understanding of the history and implementation of these tools when working online. 

The video above was created in response to the first assignment of the course. Made using Lumen 5 it uses images and music which is shared under CC licence, remixed to communicate a narrative which I hope resonates with many and shows why creative industries have much to gain by welcoming Creative Commons licencing to their activities. 

I am including in this blog post further factual detail around the history of the Creative Commons movement. I didn't wish to include these in the video as I wanted to keep the message simple and focus on the potential offered by CC to enrich our lives through digital creativity. Since much of human communication and activity is now facilitated through online activity thanks to the internet, it has become clear that the law around copyright is not sufficient to clarify our intentions when sharing online. Here are some of the landmarks on the road to clarifying the rights of all internet users:

• 1998  Sonny Bono Copyright Term Extension Act (CTEA). The US extends the term of copyright to the life of the creator + 70 years (longer than that agreed in many other countries). Sometimes referred to as Mickey Mouse extension and you can see why in the copyright section here.

• 2001-2 Eldred vs Ashcroft: a challenge to the CTEA which professor of Law Lawrence Lessig believed to be unconstitutional. The copyright extension was upheld. 
• 2001 Creative Commons founded.
• Dec 2002 A set of Creative Commons licences were created, built upon copyright law and increasing the flexibility of licencing. Inspired in part by the Free Software Foundation’s GNU General Public License (GNU GPL).
• 2017 There are 1.4 billion Creative Commons licenced works

The existence of the global network that is Creative Commons, a movement which upholds open education and greater fairness for all has been of vital importance to my work as an educator and an open educational practitioner. 

Designing OER and becoming an Open Educational Practitioner.

This is Ufuk Balaman @ubalaman. He is a member of the Eurocall CMC sig (Computer-Mediated Communication special interest group) and we meet at Eurocall 2017 in Southampton. He invited me to work with a group of his students in Turkey who are working on learning design for language teaching. The session was planned together and ran on 20th March with me in my office in Warwick and his students in a large lecture theatre in Hacettepe University, Turkey. 

We ran it as an open session, collaborating using a range of web 2 tools and a live classroom (Bb Collaborate Ultra). Firstly I wanted to establish a shared presence and we used several tools for this:

• A shared gdoc which held the session plan and links
• A padlet board to share images 
• Hashtags to help aggregate and extend our online interactions: #ELT382

We quickly got down to the important reflection on why we need to design using digital tools through Mentimeter:

and then the deeper conversation about the risks and challenges:

This was really getting interesting! I started to talk about the Video For All project, an EU project looking at how to use video in language teaching. I shared the paper on produsage I wrote with Sarah Pasfield-Neofitou @sarahconf (then at Monash University) which showed just how tricky it is for language educators to navigate the many restrictions on use of commercial video to provide relevant, motivational content for learners. Intellectual Property in the online space is still a battleground and some decisions are still being contested through campaigns such as #fixcopyright and save the link. I shared information about Creative Commons licences and the coming accreditation available to those using them. I shared some useful tools for video creation such as Flipgrid, Lumen5, VLC player and 

There then followed some video based challenges:

• To share their thoughts on creating video for language teaching using the flipgrid here
• To create an OER and add the link to a Credly badge claim in order to get their own open badge. 

I raised the point about the pressure teaching systems are currently under and the importance of sustaining effective teaching practice manned by real, talented individuals. People who can make a difference. I shared this article on sustainability. 

Now I wait to see what they devise and share. Already the fliprid responses are encouraging. We have perhaps started a community of practice here for language education designers.

Meanwhile I hope that others are going to take a close look at the potential for Open Educational Practice for the improvement of educational opportunities everywhere. I have shared a collection of resources based through Thinglink in the graphic below which came from the Opening Up Education report by the European Commission. 

Free for all

Why Open Education Matters from Blink Tower on Vimeo.



I have just completed the first iteration of a new module LN306 Developing Language Teaching. The course has attracted a good cohort of students including a number of Erasmus students from Germany Italy and France and I have constantly been impressed with their instincts for what makes good teaching. The central objective of the course is to look at how as teachers we can create interventions to address a specific learner need and includes critical analysis of learning design and pedagogies. In passing during the course I have shared some of Open Educational Resources (OER) and tools for creation. In our final session this week I asked my students to critically evaluate the winning video from the Why Open Education matters campaign above and again the level of understanding proved a useful bridge to a constructive dialogue.

The video paints a rosy picture of how OER can improve the world, but said one of the students:

• how do you know what "good OER" look like? After all, text books have a kudos and an authority as they are endorsed by your tutor. Who can you trust?

This has frequently been a criticism levelled at the OER movement: too idealistic, all fluffy clouds and rainbows. I explained my position. 

I am very much in favour of what has been called by Martin Weller "Little OER", resources created by individuals to fit their context and subsequently shared under Creative Commons licences so that others can remix, re-use and re-purpose. The main benefit of this sort of creative activity I posit is as a means for contributing to your professional community. I admitted that I have created and shared slides which have carried the odd typo (as indeed do many text books I have used) but the benefits of this "open educational practice" (OEP) outweigh the disadvantages of the escalating costs for students of course materials. 

Surely the ability to critically evaluate all materials should not be sacrificed in favour of a blind acceptance that material on the reading list is automatically more trustworthy? Surely a student would be happy to know that his/her tutor is actively engaged in their professional community and able to adapt and create resources which best meet their local context? The students agreed (or seemed to at least) and I look forward to seeing their learning designs as part of their e-portfolio assessment in April. I am happy they have plenty to think about. 

The truth of course is that this learning design challenge matters more than ever to their generation and those who follow. The expertise of teachers is constantly undermined by politicians and the very existence of teaching jobs under threat thanks to "austerity". I am far from alone in seeing the potential of the open internet to inspire and support my profession.

The creative opportunities for learning design offered in the digital domain are endless:

Making your open textbook

A set of resources to get you started in curating your open textbook

It takes courage and commitment to engage in open educational practice there are few rainbows unicorns or fluffy clouds. This post describes the situation beautifully. Going open is a sign of strength worthy of Camus' approval as in L'Homme Révolté:

« La vraie générosité envers l'avenir consiste à tout donner au présent. »

Investigating the student experience

I am about to start a second #WIHEA project with an even more ambitious remit that the previous one and I'm delighted to have many of the first team on board as they have already proven themselves to be great co-researchers. The focus of the earlier project was upon how language teaching and learning is changing in the digital age. We found essentially that there are far more opportunities to connect and interact than before and that, despite the learning curves involved in navigating digital spaces incorporating digital approaches (when done well) helps to extend learning and brings access to new literacies which had not always been fully explored in a learning context elsewhere. 

This project will be focussing more on the nature of such approaches and the issues that arise when we embrace open online resources and practices as part of the learning landscape. We are reaching out to a wider Warwick audience for this, involving our careers and skills professionals, Education and Linguistics as well as a fully open audience through a G+ community here. The project, #knowhow will offer opportunities to explore how we manage our professional digital identity, how to manage issues such as copyright and ownership online and of course how to understand the various micro-cultures that operate within the digital environment. The "students" in this case are all of us, whether we are staff or students as we are all learning together. 

I have enrolled on the #lermooc as a way of finding a community of practice to support this work as there is a tight budget and deadline ('twas ever thus) and I need to ensure that I find time and space to reflect on what we discover. I usually find my reflection is facilitated by the input of others. As an open practitioner myself I am keen to understand how working in the open may be perceived by others so I look forward to a challenging but ultimately informative experience. 

Setting sail together.

Yesterday I presented a keynote to the LLAS #elearnllas symposium which charted the course of my professional development as a learning technologist over recent years. I did not set out to become a learning technologist, this was rather a necessary set of skills I needed to acquire in order to develop our blended learning provision. My objective had been to implement a platform to enable our tutors and students to share resources and connect beyond the classroom, given that we have just 2 or 3 hours a week contact time. 

The journey has not been without its challenges but I didn't want to dwell on these. What I wanted to share with my peers was the nature of the digital landscape and how we can be best prepared for embarking on such journeys from our own institutional contexts. I chose to map the territory using the thinglink above. This is offered as a tool which can be shared with others to encourage them to explore the digital environment and find affordances which are useful to their practice. The multimodal path through my presentation is available here and those who share the messages can collect a digital badge by submitting an evidence URL (blog post link, tweet etc) to this open badge claim. 

Inspirational talk by @WarwickLanguage at #elearnllas Language teachers need to get out more into the digital space! pic.twitter.com/2T8neCo3ix

— elearning symposium (@elearnLLAS) January 22, 2016

Licence to kill!

A recent visit to Bilbao led me to reflect on digital creation and ownership. I will briefly describe the two experiences that triggered this post. The image above is a photo taken during my visit to the Guggenheim museum. As I wandered around looking at the Jean-Michel Basquiat exhibit on the top floor I used my phone to capture some of the quotations on the wall. A friend meanwhile captured the impressive light and surfaces of this beautiful building. We were not prevented from doing so. That is until I turned my phone towards one of the artworks and was abruptly chided "no photos por favor". Fair enough, I thought, maybe the flash could damage the artwork. Later, having visited the fan shop for Athletico Bilbao in the old town to take home a souvenir for my son, I asked if I could take a picture of the shop's interior to share with him. Again came the "no photos" reply. 

I was left puzzling the principles behind these rules. Both spaces are public spaces, they clearly want to attract visitors. Both will happily take our money and benefit from our patronage. Our reported experiences (as seen on sites such as Trip Advisor) can influence other potential visitors and thus affect their "brand". It is normal these days for us to capture snapshots of our experiences to share on social media. Perhaps such businesses could better communicate what they consider to be acceptable use of technology on their premesis? 

Digital activity has made everyone a reviewer or reviewee. Creating and sharing digital capture allows individuals to express their unique take on the world, capturing a perspective that is personal and original. In the same way Basquiat's self expression came to promenance on the streets of New York, ours resides on social websites such as Instagram, evidencing how our experiences shape our lives. Businesses are in some cases claiming ownership of such experiences, the more progressive of them recognise that visitor impressions are powerful and encourage posting to their own social pages. 

Using legislation, policies and rules to limit the rights of others to experience and portray their world without good reason is abhorrent to me. I believe it is contrary to web culture, a domain where equity and freedom of speech is currently a defining principle. I believe Basquiat would have felt the same way had he lived long enough to experience the rise of the web. He clearly felt that self expression through art connected him to the world.  Freedom is under threat however, not least by those who abuse it, but also by those who would assert ownership of the infrastructure to create a two-tiered system where access is governed by your means. One way of addressing this is to ensure that ordinary people can claim their stake on their contribution through Creative Commons licencing. The silent majority need to be heard if we are to avoid the internet becoming a mirror of our world, where 1% of the population owns the lion's share. 

PS. If you would like to explore Basquiat's work in the open take a look at this site Artsy has a mission to bring art to all. 

of eggs and baskets #blimage

This #blimage challenge was posted by Steve Wheeler here. 

I know it's a bowl in the picture but with a little poetic licence it is easily connected to the proverb:

"Don't put all your eggs in one basket"


and for those learning English here's a quick test of your understanding of the meaning of this advice. 

I'm looking at this advice in the context of educational technology and change. Ubiquitous technology means that we are all becoming increasingly dependant upon tools to support learning. I would argue that this is, by and large, a good development overall as education needs to capitalise on the learning potential offered by digital tools and help inform their use so that we are able to influence the users. We do not need more passive consumers of an ever increasing wave of expensive gadgets, we need critical thinkers who understand the relative advantages and affordances offered and can make informed choices. They in turn can then influence the evolution of the markets and use their democratic power to regulate when necessary. 

One of the risks we need to ensure that users of technology understand is that of "lock-in". You can read more about it here. Some technical tools for creation that may be very enticing insist on producing file types that require ongoing commitment to a particular technology, tool or licence. This brings an inherent reduction in future proofing for your creation. At a time when the pact of technical change continues to accelerate you could very soon find that your well thought-out digital package of content is no longer usable. Remember Betamax or Sony mini disc cameras? Think of the time and money wasted and the potential for wheels being reinvented endlessly. 

Fortunately there are folk out there who are working to convince the technology industry of the importance of open formats and interoperability. Look at the work of IMS on Learning Technology Interoperability here. Also the open source media streaming company Kaltura campaigns for open video formats.  As users of technology for education we should ensure that we know how to preserve our educational resources so that they can be repurposed, accessed by anyone. That way educators' great ideas do not become obsolete overnight. Here are a few practical tips:

• if you are making something using a browser based tool (a video, screen cast, audio recording) make sure that you can download the finished file so that you have a copy. Websites disappear regularly.
• find good file conversion facilities (e.g. Format Factory, Freemake) so that you can save your file in a range of formats.
• go open - use Creative Commons licences (CC BY) on your work so that others can remix, repurpose and develop your ideas. Sharing to a wider community increases the longevity of your work but you should get acknowledged as the originator. 

Open Education #FOS4L Getting creative

Open Education is dear to me, creating tailored learning resources has always been one of my favourite aspects of teaching, But what's the point of all that creation if you can't share it widely and be inspired by others who critique or improve on it? But the concept of open is often misunderstood. 

Since the advent of digital I have not only been able to clear out all the ancient worksheets from under my bed (25 years of dust collecting under there!) but I have also been able to refine the best ideas and develop them for digital practice, sharing using slideshare, TES resources, scribd, issu, dropbox, flickr and other sites and the engagement with them has helped me to realise how useful they are to others. It's not always easy to find sites that display the creative commons licence obviously, hence my campaign on slideshare recently. 

The new affordances of digital tools increase the impact that can be achieved from a teaching perspective considerably. Using digital video for example can revolutionise the authenticity of language teaching and learning scenarios. I have been involved in the EU Video for all project over the past year and a half and I have conducted piloting sessions with colleagues in HE to get their impressions of this approach to encouraging creativity. Of course using commercial video or "finding images on the web" can be problematic and sometimes teachers get caught like rabbits in the headlights, afraid to create or encourage creativity in case copyright is infringed. So for that reason I took one of the Video for All examples made by one of my students (using poetry for student creation) and made some resources about Creative Commons (including a wiki page here) to support language teachers in embarking on their own make to suit their context. 

I believe that supporting the confidence of teachers to create and within their Community of Practice is very important. We have been disempowered through a series of bureaucratic practices in education for too long, good teaching is a fundamentally creative process and skills development in the digital era should be a priority. This is why I embraced Terry Loane's suggestion of Open Guilds and participated recently in the webinar. I also set up an open badge for other language educators (see below, designed by @mearso) so we can start to build a cross sector CoP to promote such activity. If you know a language educator who practices openly, please share the badge claim link with them!

Open to change!

I have just returned home from #oer15. My first #oer conference but a place where I met and consolidated friendships with many I have known online as like minds for many years. We were focusing on the issue of mainstreaming Open. Let me explain:

Open educational practitoners believe that education is not something you "do to" others, it is participation in a learning community, we are all learners. As such, we share and learn from each other. Few teachers have an issue with this ideal, (although some are less keen perhaps to learn from their students). Most practioners also feel that getting to grips with Creative Commons licences and searching banks of content is too big a task to contemplate. I think it is also too important to ignore. Watch David Wiley's Ted talk if you are unconvinced.

Basically: 

• Learning is vital if we are to survive as a species, the challenges that face us are bigger than we can imagine
• Learning is getting more exclusive, access is limited to a relatively small proportion of advantaged people
• The costs of learning are beyond the means of the many, this is unfair.

Open educational resources are (mainly) digital objects made available for retention, re-use, revision, re-mixing and redistribution. This is facilitated by a set of Creative Commons licences, the most "open" one being CC BY. This indicates a resource that is available for all of the above but the originator should be attributed. This offers a way of ensuring that work you produce (your worksheets for example) acknowledge your intellectual input. For me this is a way of helping to re-professionalise teaching, a "profession" that has largely been diminished, with teachers just the worker ants, a benign interface between the curriculum creators and exam authorities, under valued and bereft of influence.

So, along with my like minded colleagues, we agreed that we wish to support the journey to open practice, international open practice that opens locked minds, overcomes insularity and silos and empowers creativity and enagement. Great learners make great teachers..

Time however is an issue. There's never enough and we all prioritise accordingly. I proposed that we consider how #openbadges could be deployed in the context of the journey to becoming an Open Educational Practioner, recognition of investment in CPD (becoming a digital practitioner) which could become part of your professional credentials. Others also seemed to feel that this would help to go towards recognition of time invested. I hope this idea flies.

If you are a language teacher, please take a look at my contribution to the OpenContentToolkit here (thanks to @theokl) on images for language teaching. Becoming open is a process so you can take it at your own pace :)

Check out @WarwickLanguage ’s page on Language Teaching with images http://t.co/hilg3grnXl < toolkit join code 3KQ97DR #oer15 #ukedchat

— Theo Kuechel (@TheoKL) April 17, 2015

Opening doors

There is no open unless there's closed, so I will start my reflection on openness with some thoughts about the locks that exist and can impede access to learning opportunities. 

If you have children you will have no doubt at times ensured that some "learning opportunities" presented by power tools, scissors, staircases were locked away, only accessible when and how you judged suitable. Such judgements are part of parental responsibility (although many would say that we have become over protective at times and limit experiences that were more freely available in times gone by). I see a parallel here with educators wishing to control access to resources to ensure their learners are not overwhelmed or faced with content that may confuse. This is a difficult balance to get right, especially in an age where access to content (irrespective of its quality) has never been more open. Each of us is a filter and maybe we should take a more active part in curating resources and encouraging the development of learner's critical and evaluative skills to empower their selection of resources. Timeliness is of course important, but the learner may be best equipped to decide on a suitable time to access a resource. Failing to acknowledge this creates dependant learners who assume that only experts can lead their learning. Surely we need to support learner autonomy and a more open discourse around learning in order to prepare for an uncertain future. 

Another reason for closing doors is that which signals ownership. "My room", "my office" closed spaces delineating roles, relationships and the observation of personal space. Again, this is not always a bad thing (my son is responsible for the state of his room, I am glad I can close the door on that!) but we have to acknowledge the reasons behind these social conventions and the possible impact of perhaps unintended consequences. Just today, following up on a paper that was part of a US conference and appears from the abstract to be relevant to my research I was frustrated to find that none of my "keys" fit the lock to access it. The link demanded payment for access and my various memberships did not enable me to read the work. Personally I prefer to publish through open channels as I value being part of a wide community of practitioners, learning from each other. 
Creative commons licencing allows me to claim my authorship, acknowledging my part in the process of contributing to a wider knowledge gathering society whilst making my preferences for usage clear. I hear more academics agreeing that openness is a principle they value.

Finally let's think about open source development and commercial providers. It has become rather "in" to recommend open source technologies over commercial vendors. I use both and have had good and bad experiences which lead me to the conclusion that "open source" does not always equate to better, more ethical, more sustainable solutions for learning technology. I use tools drawn from both sectors based on their suitability for purpose. My overriding concern is to avoid "lock in" which leaves users hostages to fortune and to establish that technology providers have an ethical way of working that ensures that my learners get a good user experience. I check out LTI compliance in order to keep the doors open. In some cases the best tool for the job requires significant financial investment in research and development that can only be achieved if the provider has access to sufficient resource. Rules of openness related to the management of digital resources are still evolving though. As part of Mozilla's webmaker course last year I created some remixes using their Popcorn maker, it was disappointing to see that French video content had been blocked when, as a language teacher, I was easily covered by "reasonable use" allowances.

So to sum up, open vs closed are not in fact simple opposites, it is much more complex than that. Far from being an open and shut case, we must continue to strive towards operationalising openness in ways that are:

• appropriate
• understandable
• facilitating
• fair