Archive for the ‘Wales Wide Web’ Category

The MOOC debate

August 1st, 2012 by Graham Attwell

There is an intense debate going on about MOOCs at the moment. As  Nellie Deutsch explains in an excellent post entitled Loveless MOOCs:

Massive Open Online Courses (MOOCs) began with the idea of connecting for learning via personal learning environments (PLEs) using blogs, wikis, google groups, and Moodle. According to Wikipedia, the term MOOC is said to have started in 2008 by Dave Cormier and Bryan Alexander “in response to an open online course designed and lead by George Siemens and Stephen Downes” (wikipedia). However, MOOCs have changed from the idea of connecting with others for learning to the more traditional content delivery format as demonstrated by Khan’s Academy, MIT’s and Standford.

Now a group of elite universities have launched their own MOOCs using Coursera (a proprietary course management system)  developed for the universities and with many other private and public educational institutions planning their own MOOCs the debate is underway.

Stephen Downes and George Siemens have characterised the difference as between C type MOOCs (C as in connectivism) and X type MOOCs (I am not sure what the X stands for). I am not sure this helps clarify things. Indeed, I think the term MOOC is now being used for almost any web based course and as such is losing any real meaning

So what are the differences.

The first is intent and motivation. The original MOOCs run by Siemens and Downes were designed to open up learning to all who wished to participate – thus the Open in the name. The business model – in as much as their was one – was based on a limited number of participants being enrolled as formal students in one of the sponsoring institutions. The new MOOCs appear to be driven by  the desire to charge for online courses, as a way of increasing enrolment on other formal courses or by charging for certification.

The latter has pedagogic implications.

Pamel McLean reports on her personal experience on her blog:

I’ve started my history of the Internet course with Coursera. I’m very interested to see how it works. It’s assessed, which I was not expecting, and find highly demotivating. I don’t really want to “master” the  cource materials.  I just want a familiarise  myself with what it covers, and how it does it.  However assessment and a final judgement of having passed or failed brings in all kinds of new dynamics. I feel a need to demonstrate to “the powers that be” that I’m not a failure, but I didn’t enrol in order to prove anything to them. I enrolled to take what I wanted from the course. Only a few hours in and I feel pushed towards jumping through hoops. I think they have only three categories “pass”, “fail” or “dropout”.

This is not the only pedagogic difference. Siemens and Downes based their MOOC on peer support through the use of social software and Web 2.0 technologies including Forums, Blogs and Twitter, webinars and internet radio. They also invited an impressive list of guest speakers who gave their time for free. Thus the model was based on peer and interactive learning through community connections, with links to participant activity being harvested and shared.

The new MOOCs are evidently not based on such a model. In fact they really just seem to be traditional on-line courses, albeit repackaged.

Furthermore, Downes and Siemens promoted the development of Personal Learning Environments with participants encouraged to develop their own learning environment including whatever applications they chose. This is very different to the closed world of Coursera technology.

I don’t agree with Nellie Deutsch’s assertion that the attitude the elite universities are choosing to take is “if you can’t join them, break them”. Instead I think they are trying to take what is clearly a successful and ground breaking innovation and trying to mold it to fit their own pedagogic and business models. But at the end of the day I don’t think what they are promoting are MOOCs, at least not as they were originally conceived.

Postscript: there are an increasing number of efforts to curate the MOOC debate – I particularly like Networked Learning – Learning Networks by Peter B Sloep which picks up well on the key issues under discussion.

 

The great music license mess is stifling creativity

August 1st, 2012 by Graham Attwell

RadioActive Europe project which will work with different groups of young people and adults to develop internet radio and set up a European Internet Radio hub kicks off in November. But we are already working on a RadioActive project in London, funded by the Nominet Trust and I am in contact with a number of projects and initiatives around Europe using using radio and video channels with young people and adults.

One of the biggest problems for these project is music. Well it isn’t music as such that is the problem. Access to music has never been easier. I am nostalgic  for those long hours I spent browsing in record shops, and taking hard choices as to which album to spend my hard earned pennies on. Now my phone has more music than was ever contained in my much loved collection of LPs.

The problem is the licensing of commercial music for streaming over the radio or for use in downloads of radio programmes. And of course many young people want to play their favourite music. It is a form of curation and self expression. From talking to many musicians, they too want their music to be played on internet radio. It is a way of reaching new audiences who might buy their music.

But the licensing, controlled essentially by the music industry (and certainly not the musicians) is a total mess. I ploughed through the UK licensing documents last week to try to make some sense out of what we can and can’t do through RadioActive. And this is what I came up with.

“1. For broadcasts that include non Creative Commons licensed material

a) requires a sign off by whoever owns the music – e.g. a friends band

OR

b) A PRS For Music licence and a PPL licence.

In the case of (b)

1. We cannot offer the download of programmes or files containing any part of any Sound Recordings. This includes Podcasting.

2. We cannot loop the (streamed) replay within a 3 hour time period.

3. No more than

– 3 Sound Recordings from a particular album

–  2 Sound Recordings from a particular album

– 4 Sound Recordings by one particular artist

– 3 Sound Recordings by one particular artist consecutively

Assuming – reasonably I think – that we do not go over 270000 performances per year the 2012 licence fee for PPL’s Small Webcaster Licence is £189.41 (plus VAT).

If we played say 8 recordings per hour this would provide us with 649 listener hours per week.

We would have to provide quarterly a Webcasting Report detailing the total number of Listener Hours (i.e. the aggregate duration that all users have streamed the service), and the average number of Sound Recordings played per hour for the quarter and (if they ask for it) –  a Programme Report detailing all of the Sound Recordings used during a given day’s programming.
We also need to know which countries listeners come  from (via web analytics).

The PRS license is far less restrictive costing £118  for 118000 streams. it also allows downloading.

How could that work? For instance cover versions of copyrighted music can be downloaded but commercial recordings cannot.

So in summary (assuming we purchase both licenses) broadcasters have three options

a) To play friends original music with permissions (obtained on paper or by electronic media)

b) To play cover versions of versions by friends with permission

c) To play music covered by a creative commons license

In these three cases we can offer unlimited streaming and downloads

2. To include commercial music in which case we cannot offer for download but can offer on looped streaming subject to conditions detailed above

I think we should purchase the licenses and then explain conditions to broadcasters to make their decision.”

It is all a bit of a nightmare. Jamendo.com is an increasingly rich source of Creative Commons licensed music (although I am told even this is contested in Portugal). And I hope through the RadioActive projects that we can start recording original music. But themess of licensing is stigling creativity and preventing many musicians from getting their music held. All this in the name of an industry which has spectacularly failed to keep pace with changing technologies and changes in the social ways in which we listen to and share music.

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