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Last day to submit for User Experience Track at DrupalCon Portland 2013

For the first time ever, DrupalCon is featuring a User Experience Track. We will have 13 sessions discussing User Experience Methods, tools and philosophies.

Today, Friday February 15th, is the last day to submit sessions for DrupalCon. Get your sessions in!

UX Track Featured Speakers

We already have 3 Featured speakers planned for the track:

Here is our focus for the User Experience track.

The User Experience process is key to the success of the development of websites and web applications. From user research, interviews and analytics, we learn what the user actually wants and needs; not what we assume they want. At this year's DrupalCon we present a new User Experience track to show our community's dedication to user needs.

Main Themes

  • Explaining what user experience is and why it’s important
  • UX for mobile and tablet, Responsive UX
  • Speeding up the design process using UX tools and techniques
  • UX for multilingual sites - especially RTL
  • Content Strategy

Audience

  • UX professionals - Drupal
  • UX professionals outside of Drupal
  • Backend devs that are interested in UX
  • Frontend devs interested in UX

Reclaiming Personalized Learning

I landed my first job teaching late in the winter, about eight months after I graduated college. I was hired by a school district near Boston to tutor a 15 year old kid - a sophomore - who had gotten expelled from school for pulling a knife on another kid. I was his tutor for his core academic subjects - English, History, Algebra, Biology. I learned later that no one expected him to show up, but as I hadn't been let in on that secret yet, I made the time to go and meet with all of his teachers, find out where he had left off in the curriculum, and hopefully (and yes, I recognize how hopelessly naive this sounds) get some insight into what he was like as a student.

Bob's teachers (that's not his name, but that's what we'll call him in this story) were not excited to talk with me. His English, History, and Algebra teachers refused to meet with me, and his Biology teacher met me with some questions of his own.

"Why are you here?" he asked me, as he gave me photocopies of a textbook, along with tests and quizzes. "In the time that we have talked today, I've seen more of you than I've seen of Bob in the last month. What do you really think you'll accomplish here?"

I mumbled something about wanting to make a difference, but really, I hadn't thought about it that much.

But the screwy thing was, Bob showed up, and kept showing up. We met at the Brookline Public Library. We spent two hours each weekday covering the four core subjects; I assigned homework, along with quizzes, tests, papers, and other assignments. And for the most part, he did the work. After I had been stood up by his English teacher, I asked my boss - who worked in the office of Home and Hospital Instruction - if I could have some latitude in book selection. She looked at me funny, and a couple days later gave me a book list. I stopped reading it as soon as I saw that A Clockwork Orange was on there, and the next day, Bob got a library card, checked out the book, and started reading.

And so things went for about a month. On Fridays, I would go down to the district office, hand in my time sheet and Bob's completed and graded work, talk with the receptionist, and then go home.

Then, on a Monday, Bob didn't show up. On Tuesday either. Over the weekend, we had started in on one of the unnaturally warm stretches that can slip into long Northeastern winters - somewhere between three to seven days of sunshine, and warmth that tempts you into thinking that winter is done. I left messages at his house - this was in the dark ages, before cell phones, before texting, before even email was in mainstream use - but had heard nothing back. I figured I had lost Bob to the weather, and maybe for good. On Wednesday, though, he was there - ten minutes late, but there.

"What's up," I asked. "Where were you?"

Bob was always pretty quiet. He was a tall kid - taller than me - and skinny, with the beginnings of a peachfuzz mustache that probably wouldn't require shaving until he was in his twenties. But today, when he spoke, he was quieter than normal, and I had to lean in to hear him. "My friend got shot."

"When?"

"I'm not completely sure," Bob said. "Either Sunday night or Monday morning."

"You okay?" I asked him.

He nodded.

"You involved?" I asked.

He shook his head, no.

"I don't know who did it though. And I don't know if he's okay."

"You want to try and find out?"

Bob looked up. "Yeah. How?"

And that day, I showed Bob how to do basic research within a newspaper - nothing big, but the library had the print versions of the Globe going back two weeks, and we started with the Metro section, and we broke down how the whole paper was organized. The reference librarian also got into the mix, and I let Bob know that reference librarians know how to find out about everything. After around forty-five minutes, Bob found a blurb that gave him information about his friend - he had been shot late Sunday night, had been taken to a hospital, and was in stable condition.

After that day, I continued tutoring Bob for the next few weeks; eventually he was placed in a halfway house for at-risk youth, and I don't know what happened with him after that. On my last week, when I handed in my time sheet, I met with my boss.

"Most of the time, these things don't last more than a week," she told me.

It took me a second to realize that "these things" meant a kid working with a tutor.

"Most kids stop coming, if they even come at all. We do what we can, but once a kid has been expelled, we don't have a lot of options. Seven weeks is probably some kind of record."

I think about Bob, and the kids like him, when I hear about people talking about how "Big Data" will save education, and enable more effective "personalized" learning.

And I wonder what Bob would look like in one of these systems:

InBloom Discipline XML

The great thing about data is that, with enough points, we begin to have a collection of information against which we can begin to look for patterns, and, hopefully, to ask good questions. But the bad thing about data is that it looks suspiciously like a fact, which leads to good data being put to bad use. Additionally, it can mislead people into thinking that activities that don't produce a data trail are somehow less worthwhile.

The push for more "personalized" learning is occurring against a backdrop where teachers - and teacher's unions - are being blamed for an outsized percentage of what is "broken" with our educational system. But, as we listen to the finely tuned and user tested rhetoric about our broken educational system, it's worth remembering that some of the "reformers" see teachers as little more than personnel expenses. As Chris Lehmann observes, this attitude isn't something that people are going out of their way to hide:

In the spring of 2012, at the opening keynote of Education Innovation Summit, Michael Moe told a room full of education entrepreneurs that over 90% of the many billions of dollars spent on education in the United States was spent on personnel, and the only way to further monetize the education sector, as he called it, was to reduce personnel costs. To the few teachers in the room his point was clear–if you want to use technology to make money and education you have to find a way to reduce the number of teachers. And there are many powerful people who seem to agree with Mr. Moe’s statements.

The quest for personalization addresses the issue Moe raises: it allows for less money to be spent on personnel, therefore allowing companies selling personalized solutions to "monetize the education sector." Translated, this roughly equates to firing teachers in order to hand public dollars to private companies. Part of the impetus for this is buried in the innocuous phrase, "personalized learning."

In today's landscape, sitting in front of a screen using educational games is considered "personalized learning" because the user can choose their path in the game.

Rocketship

Spending hours on computerized adaptive tests is called "personalized learning" because the questions shift based on what you answer right or wrong.

Watching videotaped lectures is called "personalized learning" because the learner can choose to rewind or rewatch the video as many times as they want.

In the hands of a marketer, personalized learning is sold as the answer to our educational problems. With more data, they want us to believe, we can get people the content they need, just when they need it. The unspoken piece to this - and this is the subtext - is that a machine can do it better than a person. We need to be clear: that is not personalized learning. That is algorithmically mediated learning. Coming from a logical place - from a place where actual words mean actual things - it's difficult to make the argument that greater personalized learning needs to occur with fewer persons involved in the process.

I don't know if I made any lasting impact on Bob's life. For the purposes of this blog post, my N is 1, and all I have is a rambling anecdote devoid of anything that even resembles a data point. But, the notion that a person can be improved by well-timed inputs of the "right" data seems simplistic at best. One thing I do know: the day Bob learned how to break down a newspaper to study current events, he was more focused and more engaged than at any time I had seen him. When I think of truly personalized education, this is what I think about: an ongoing flow of action, reaction, conversation - and hopefully growth - that occur when people think about what they want to learn, and how they want to get there.

Image Credit: The image of the boy in the chair is reused from Rocketship’s Learning Labs & The Cost Of Personalization, by Dan Meyer, published under an Attribution license.

Pre-requisites To Making The Most Of An Open Content Authoring Day

If you are thinking about going to an open content authoring day, here are some tips to help you get the most from the day:

  • Identify what you want to get from the day ahead of time. The authoring events are a mix of community work days and a maker space, and knowing what you want to do with your time will help you make the most of the day.
  • If your goals for the day include working on a specific project, try and make progress on your working outline and your initial research before the event. This way, during the event, you can work with other participants on structure, editing, and other elements of the project where you will benefit from outside review.
  • Glass blower
  • If your goals for the day don't include working on a specific project, that's fine - one of the other ways that you can participate in an open content authoring day is by helping to clean up existing open content that has been released in clumsy formats (pdfs, word docs, powerpoint, etc).
  • If your goal for the day is to learn more about open content, that's fine as well - most events will have an intro session on open content, but then you will get the chance to learn by doing. The open content authoring days have more in common with Project-based Learning or Maker events than with traditional lecture.
  • Identify potential partners - if you think that someone else might be working on a similar concept (or might be interested in working on a similar concept) ask them. If you can assemble a working group prior to the event, you will be better prepared to make the most of in-person meeting of the open content event.

Based on feedback we have gotten from other open content events we have run, we put together a series of posts to help provide background information for people authoring open content. This documentation works equally well for people looking to author open content on their own, with a small group in their school or organization, or for people attending open content authoring days.

But really, the short version of this post is that if you are coming to an open content authoring day, that's awesome. Talk about it. Talk about the work you want to do there. During the day, start the planning for the next one. Identify people you might want to work with to collaborate on a year long project where you each save ten of your best ideas, and then, over the summer, get together to refine that group of great ideas into the best open educational resource ever. The open content days are group work days, but as educators, every day is a work day. Using the ethos of open content, infused with the learn while doing of Project Based Learning, flavored with some of the inventiveness and freedom to experiment that comes from Maker spaces, let's see what we can build.

Image Credit: "Working - Glass Blower" taken by Bob Jagendorf, published under an Attribution Non Commercial license.

Open Content: Licensing, Attribution, and Reuse

Nearly every time we talk about open content, we are asked about licensing, reuse, and the possible risks of reuse. It's a complicated issue, but it is definitely worth noting that using Creative Commons licensed material is significantly less complex than traditional copyright. With authoring events coming up in Portland and San Francisco, we wanted to look at the resources that already existed to explain licensing, and come up with as simple a guide to licensing and reuse as possible.

This post is not intended to be a comprehensive review of either Creative Commons or traditional copyright. The purpose of this post is to provide people writing open content with some sound guidelines for using and remixing content.

Creative Commons Licensing: An Overview

Every one of the six Creative Commons license requires attribution of the original source, and we will look at attribution later in this post. In addition to attribution, a Creative Commons license can reserve the following rights for the author (or place the following obligations on people reusing the content):

  • Non-Commercial - work released under the NC license cannot be used in a commercial endeavor without the permission of the original creator;
  • Share Alike - when a work is released under the SA license, it requires that any future work that incorporates the original must be released under a comparable license;
  • No Derivatives - work released under the ND license cannot be altered or modified when it is reused.

Molly Kleinman has a series of posts on the details of using the Non-Commercial, the Share-Alike, and the No Derivatives licenses.

The public domain is another option; licensing your work in the Public Domain allows anyone, anywhere, to use your work in any way they see fit, without any obligation to attribute you as the original source.

A central reason that Creative Commons licensing gets confusing for people is that thinking about the license requires that we consider two different events: the initial act of creation; and how the initial work can be reused and adapted over time.

Remixing Work and License Compatibility

When we are creating open content, we will likely encounter - and want to use - content that has been licensed under several different licenses. When we are remixing a work and building on other openly licensed work, we need to consider the licenses of our source material as we choose the license of our new work. The chart included below (adapted from the Creative Commons FAQ on licensing work from multiple sources) shows how mixed licenses can be used.

Compatibility chart Licenses that may be used for a derivative work or adaptation
BY BY-NC BY-NC-ND BY-NC-SA BY-ND BY-SA PD
License of original work PD YES YES YES YES YES YES YES
BY YES YES YES YES YES YES  
BY-NC   YES YES YES      
BY-NC-ND              
BY-NC-SA       YES      
BY-ND              
BY-SA           YES  

As the chart shows, if a piece of source material is licensed under a Non-Commercial license, any work built on that would need to be Non-Commercial as well. When choosing a license, we are limited by the licenses of the work we are looking to incorporate. If a derived work uses information licensed under either of the Share-Alike licenses, the resulting work must also use the Share-Alike license. Accordingly, the license we choose will place similar limits on future uses of our work.

This isn't a bad thing, and to all the people who are saying that this is complicated: yes, but it is much more flexible and humane than the existing copyright system. At the end of this piece, I will demonstrate how to use this chart to navigate remixing different sources.

For additional information on reusing material licensed under different licenses, see Resolving License Conflicts When Authoring Open Content.

Attribution

Attribution is required under all Creative Commons licenses, and it is also just basic scholarship.

To attribute a work used in your open content, include the following information:

  • The author's name or pseudonym;
  • A link to the original work; if the resource isn't available online, then information (like publication date, publisher, magazine name, etc) to help someone else find and use the resource;
  • The title of the original work;
  • The license of the original work, with a link to the license, where possible;
  • If available, any applicable copyright dates.

Molly Kleinman has a good writeup on attribution, with examples.

This information can be collected at the end of your post, in a list of works cited and a list of works consulted.

Of these two lists, the list of works cited is the one that matters for choosing a license. When writing online, arguably, the list of works consulted can be inferred from the list of external links on a page.

At the end of this post, I include a list of works cited and a list of works consulted.

List of works remixed

In this post and our companion post on resolving licensing conflicts, we incorporated and reworked material sections from the three works listed above. Two of the works are licensed under the CC-BY license, and one is licensed under the CC-BY-SA license.

Using the matrix included above, we see that the CC-BY posts can be remixed into derivative works using many different licenses.

Our third work is licensed under a CC-BY-SA license; from looking at the matrix, we see that CC-BY works can be remixed into CC-BY-SA. Accordingly, the only choice on this post is CC-BY-SA. Given that this is the license we like to use, this works well.

List of works consulted

The list of works consulted does not affect the license used when publishing a work. When writing for the web, the list of works consulted can generally be inferred from the links in the post. In addition to the works linked in this post, we also read through the information in the posts listed below.

In addition to the posts listed below, Karen Fasimpaur provided some incredibly useful guidance with finding some of the resources used in this post.

Closing Notes

Questions about licensing have been one of the thornier elements to creating and reusing open content. However, with the large and growing body of high quality openly licensed resources that are available, navigating licenses is becoming easier. A goal of Creative Commons licensing is to facilitate sharing and reuse, and this is a fundamental shift in how we traditionally think about licensing.

Resolving License Conflicts When Authoring Open Content

As discussed in Open Content: Licensing, Attribution, and Reuse, the licenses of our source material can affect the licenses we can use when we release our remixed work. At times, there will be potential conflicts that need to be addressed. Unlike traditional copyright, where our options are limited by the whims and decisions of the copyright holder, Creative Commons licensing provides authors with more flexibility and choice.

With some thought and planning, licensing issues can be relegated to just another step in the process of authoring open content.

Resolving Potential Conflicts

If you come across a situation where you are looking at a licensing conflict that appears insurmountable, you have a few other options:

  • Contact the license holder and ask permission; or
  • Fair Use; or
  • Curation; or
  • Multiple licenses covering components within a resource; or
  • Write your own.

Frequently, contacting the license holder and asking for permission will be all that's needed. In many cases, the original author wanted to have some degree of control over where there work will be reused, and are open to allowing it to be incorporated into a derivative work. When we have asked authors to use their work under a different license, we have written a brief email describing our project, how the piece will be used, and why the piece is important within the project. Additionally, we let the author know that we will attribute them, and ask if there is a specific way that want to be recognized as the original creator.

Fair Use is a second option; Fair Use is part of US Copyright Law; there are also some international parallels. The concept of fair use defines a set of conditions under which a portion of a work can be reused or remixed within a new derivative work. This video provides more information on Fair Use. The short version: using information within an educational setting is widely protected under Fair Use.

If Fair Use is not a fit for your specific situation, you can also incorporate work by curating external sources. In this context, "curation" includes a description of how the external resource fits into your work, along with a link to the resource (or, for information not on the web, instructions on how to access the resource).

Using multiple licenses is a third option; while this is the most complex of all options, it does allow for reuse of content under different licenses. When a work uses more than one license, individual components within the work retain their original license, while the bulk of the new work is licensed under a different license. As one example to illustrate when this is a viable approach, if an image under a No Derivatives license is reused in its original format, the rest of the work can be released under a different license while the image retains its original ND license.

The final option covered here is to create your own resource. If none of the options discussed so far work, creating your own new work and releasing it under a Creative Commons license is always a viable option.

Through the options described above, many external resources can be incorporated into open content without infringing upon the rights of the original authors. Attribution and transparency, discussed later in this post, provide additional ways that we can safely and ethically reuse existing content within open educational resources.

Transparency and Intent

One of the fears we hear repeatedly about adopting open content is the fear that it can lead to legal action for infringing on the rights of copyright holders. As with every fear, it helps to temper the concern with some reality.

The reality is that large companies use the threat of a lawsuit as a means of chilling competition. However, the likelihood of that happening is incredibly small, and it becomes even smaller when we use the steps described in this post to make sure that we are respecting the licenses that creators put on their work.

By being completely transparent about the source material we use, by using proper attribution, and by making an intentional effort to use and support open content creation efforts, we minimize any risk even further. The companies and organizations looking to sue are concerned about the long term prospects of their business model, and they should be. The goal of open content, however, is not to ruin the textbook industry in its current form - while that might happen, that's a secondary effect. The goal of open content is to support teachers and learners working together to create the best learning process possible. Content plays a role in that, but, the process of creating and reusing open content becomes more valuable than the actual content.

When discussing open content, many people become focused on the "content" rather than the "open." By being transparent about our sources, our methods, and our goals, we can provide a clear roadmap of how we got to a specific piece of content. In most cases where the author of a piece of work has a question about how their work is being used, they will ask that the work be removed, or they will ask for more information. In these situations, being fully transparent about how we created the work will help demonstrate our intent. This is not a blanket protection against legal action, but given that (in the US, anyways) anyone can sue anyone for any reason, it's difficult to get that blanket protection whether we use open content or not.

Being fully transparent in how we source and create open content, however, helps illustrate the process by which more people can benefit from open content. It's also a stark contrast to traditional textbook companies, where various interest groups vet and make recommendations to textbooks prior to publication. Transparency offers demonstrable evidence of how our work came into existence.

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