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![“[L]ike literacy after the printing
press, design is becoming too
important to leave to a cloistered
few. For design to become more
relevant in a world like this, we
must find ways of expanding
design practice to amateurs and to
communal practice.”
— Clay Shirky
Gerritzen and Lovink, Everyone is a Designer in the Age of Social Media (2010), p. 24](https://image.slidesharecdn.com/ir16internetresearch16pres-151023041741-lva1-app6891/85/Imagining-and-Enabling-the-Collaborative-Commons-26-320.jpg)
![“The new prosumers, on the other hand,
are increasingly banding together in
lateral networks, producing and sharing
information goods, renewable energy, 3D
printed products, and an array of
services on a global Collaborative
Commons at near zero marginal costs,
disrupting the workings of capitalist
markets. [. . .] If there is an underlying
theme to the emerging cultural
conflict, it is the “monopolization vs.
democratization of everything.””
— Jeremy Rifkin, (2014), The Zero Marginal Cost Society: The Internet
of Things, the Collaborative Commons, and the Eclipse of Capitalism](https://image.slidesharecdn.com/ir16internetresearch16pres-151023041741-lva1-app6891/85/Imagining-and-Enabling-the-Collaborative-Commons-35-320.jpg)
![“[L]ike literacy after the printing
press, design is becoming too
important to leave to a cloistered
few. For design to become more
relevant in a world like this, we
must find ways of expanding
design practice to amateurs and to
communal practice.”
— Clay Shirky
Gerritzen and Lovink, Everyone is a Designer in the Age of Social Media (2010), p. 24](https://image.slidesharecdn.com/ir16internetresearch16pres-151023041741-lva1-app6891/75/Imagining-and-Enabling-the-Collaborative-Commons-26-2048.jpg)
![“The new prosumers, on the other hand,
are increasingly banding together in
lateral networks, producing and sharing
information goods, renewable energy, 3D
printed products, and an array of
services on a global Collaborative
Commons at near zero marginal costs,
disrupting the workings of capitalist
markets. [. . .] If there is an underlying
theme to the emerging cultural
conflict, it is the “monopolization vs.
democratization of everything.””
— Jeremy Rifkin, (2014), The Zero Marginal Cost Society: The Internet
of Things, the Collaborative Commons, and the Eclipse of Capitalism](https://image.slidesharecdn.com/ir16internetresearch16pres-151023041741-lva1-app6891/75/Imagining-and-Enabling-the-Collaborative-Commons-35-2048.jpg)
Uploaded byMark McGuire
Imagining and Enabling the Collaborative Commons
The document discusses the themes of collaboration, open education, and open design, emphasizing the importance of shared goals, community engagement, and the integration of digital tools for building knowledge networks. It highlights the significance of open content and the democratization of design practices, as well as the necessity for interdisciplinary collaboration in addressing complex problems. Ultimately, it encourages the development of strategies that foster collaboration and participation in both educational and design contexts.
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Imagining and Enabling the Collaborative Commons
- 1. Imagining And Enabling The Collaborative Commons IR16Phoenix, Oct. 21-24 2015 Dr Mark McGuire Design, Dept. of Applied Sciences, University of Otago email: mark.mcguire@otago.ac.nz Twitter: @mark_mcguire Blog: http://markmcguire.net/ Instagram: https://instagram.com/mark_mcguire/ Spray painted Hashtag, Dunedin, NZ
- 2. Collaboration (Shared goals) Open Practices inEducation and Design Cooperation (Shared Interest) Crowdsourcing (Gathering) Dissemination (Spreading) Process-based Artefact-based
- 3. Weller, M. 2014.Battle for Open: How openness won and why it doesn't feel like victory. London: Ubiquity Press. DOI: http:// dx.doi.org/10.5334/bam http:// www.ubiquitypress.com/ site/books/detail/11/battle- for-open/ Weller, M. 2011. The Digital Scholar: How Technology Is Transforming Scholarly Practice. Bloomsbury Academic. http:// www.bloomsburyacademic.c om/view/ DigitalScholar_9781849666 275/book- ba-9781849666275.xml Benkler, Y. 2007. The Wealth of Networks: How Social Production Transforms Markets and Freedom. Yale University Press. http:// cyber.law.harvard.edu/ wealth_of_networks/ Main_Page Bates, A. W. 2015. Teaching in a Digital Age: Guidelines for designing teaching and learning. (Open Textbook) http://opentextbc.ca/ teachinginadigitalage/
- 4. “Open Content” (DavidWiley) A copyrightable work that is licensed in a way that “provides users with free and perpetual permission to engage in the 5R activities” > Retain – the right to make, own, and control copies of the content > Reuse – the right to use the content in a wide range of ways > Revise – the right to adapt, adjust, modify, or alter the content itself > Remix – the right to combine the original or revised content with other open content to create something new > Redistribute – the right to share copies of the original content, your revisions, or your remixes with others David Wiley. “Open Content” in An Open Education Reader, 2014 http://openedreader.org/chapter/open-content/
- 5. Free Cultural Works >an application of the principles of free software to content. > the freedom to modify without any discrimination against uses or users. Attribution CC BY This license lets others distribute, remix, tweak, and build upon your work, even commercially, as long as they credit you for the original creation. Attribution-ShareAlike CC BY-SA This license lets others remix, tweak, and build upon your work even for commercial purposes, as long as they credit you and license their new creations under the identical terms. Understanding Free Cultural Works https://creativecommons.org/freeworks About The Licenses http://creativecommons.org/licenses/
- 6. “Message in abottle” near to Covehithe, Suffolk, Great Britain “I found the bottle at Benacre, it wished me well and has an email address, this had faded.” Photo by Ashley Dace CC-BY-SA.jpg http://www.geograph.org.uk/photo/1095870 Tossing disconnected messages and resources into the commons without considering the needs and context of indented recipients (listeners/viewers/ users) is unlikely to be a very successful approach.
- 8. Technical, social andeconomic developments in the Internet age have enabled an “aesthetic movement of collaborism” and a democratisation of design. — Gerritzen and Lovink Everyone is a Designer in the Age of Social Media (2010), p. 24
- 9. Open design isdeveloping out of a culture of sharing and reciprocity in which designers and end users connect directly, without the need for intermediate organizations, retailers, publishers or marketers. Powerful digital tools, expert advice and high quality work are now freely available online. Anyone to participate in online conversations, activities and spaces, regardless of professional title or status. — Open Design Now: Why design cannot remain exclusive (2011). edited by Bas van Abel et al.
- 10. Massive Open OnlineCourse > A participatory, distributed, open event > Working on a topic of shared interest > Engaging with other people’s work in a structured way > Making connections to other individuals and to their ideas > Construct a personal learning network for life-long learning > The building of a distributed knowledge base on the Net Uploaded Dec. 2010, Accesses 17 Sept. 2015 http://www.youtube.com/watch?v=eW3gMGqcZQc
- 11. “Connectivism is theintegration of principles explored by chaos, network, and complexity and self-organization theories. Learning is a process that occurs within nebulous environments of shifting core elements – not entirely under the control of the individual. Learning (defined as actionable knowledge) can reside outside of ourselves (within an organization or a database), is focused on connecting specialized information sets, and the connections that enable us to learn more are more important than our current state of knowing.” George Siemens. “Connectivism: A Learning Theory for the Digital Age” 2005 http://www.itdl.org/journal/jan_05/article01.htm George Siemens by Stephen Downes 2009 (CC-BY)
- 12. “At its heart,connectivism is the thesis that knowledge is distributed across a network of connections, and therefore that learning consists of the ability to construct and traverse those networks.” Stephen Downes. “What Connectivism Is” Feb. 3 2007 http://halfanhour.blogspot.co.uk/2007/02/what-connectivism-is.html Stephen Downes by Stephen Downes 2011 (CC-BY)
- 13. “The cMOOC, isbased on connection rather than content, looks more like an online community than a course, and doesn’t have a defined curriculum or formal assignments.” Stephen Downes. “From MOOC to Personal Learning” 5 Oct. 2015 http://www.downes.ca/post/64556 Stephen Downes by Stephen Downes 2011 (CC-BY)
- 14. https://phonar.org/faqs/ Accessed 13Oct. 2015 (Photography and Narrative) annual, since 2009 > Jonathan Worth, Chantal Riekel , Jonathan Shaw, Matt Johnston (Coventry University, UK) > Investigates notions of ‘trans-media’ and how this can be applied to modern photographic practices > Weekly tasks, guest lectures, seminars & workshops on location at Coventry (versions shared via the #Phonar site) > “We propose that by drawing on the cumulative knowledge of our entire class-community we can come to a better understanding together”
- 15. Twitter Search for#phonar Nov. 7 2014 https://twitter.com/search?q=%23phonar&src=typd Jonathan Worth: “I curate a journey through a structure of learning, providing contextual links between specialist contributors,” says Worth. “Each year the journey is different (and relevant), and each year it accrues a long tail of content.” WIRED. Aug. 11 2011 http://www.wired.com/rawfile/2011/08/free-online-class- shakes-up-photo-education/
- 16. #phonar Twittersphere Nov.7 2014 http://phonar.org/twitter-visualisation/
- 17. Jim Groom, Universityof Mary Washington, Fredericksburg, Virginia Accessed 17 Sept. 2015 http://ds106.us/
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- 20. Social Learning Innovation forEmergent Problems Requires Social Knowledge (SocialLearn, Open University, UK) Ferguson, Rebecca, and Simon Buckingham Shum. 2012. “Towards a social learning space for open educational resources.” In Collaborative Learning 2.0: Open Educational Resources, 309-327. Hershey, PA: IGA Global. “Colearning” - collaborative networks for creating, sharing and reusing OER through social media.” > Low cost > Ease of accessibility over the web without specialist skills > Global reach > Instantaneous responses Okada, Alexandra, Alexander Mikroyannidis, Izabel Meister, and Suzanne Little. 2012. ““Colearning” - collaborative networks for creating, sharing and reusing OER through social media.” Cambridge 2012: Innovation and Impact - Openly Collaborating to Enhance Education, Cambridge, UK, April 16-18 2012.
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- 24. http://tagitjj.com/ Accessed 5Oct. 2015
- 25. “Conversation is king. Contentis just something to talk about” — Cory Doctorow http://boingboing.net/2006/10/10/disney-exec-piracy-i.html Accessed 14 Oct. 2015 Cory Doctorow “Download My Books” http://craphound.com/ Accessed 14 Oct. 2015
- 26. “[L]ike literacy afterthe printing press, design is becoming too important to leave to a cloistered few. For design to become more relevant in a world like this, we must find ways of expanding design practice to amateurs and to communal practice.” — Clay Shirky Gerritzen and Lovink, Everyone is a Designer in the Age of Social Media (2010), p. 24
- 27. Wicked Problems Social orcultural problems that are difficult or impossible to solve for 4 reasons: 1. Incomplete or contradictory knowledge, 2. Large number of people and opinions involved, 3. Large economic burden, 4. Interconnected nature of these problems with other problems + This demands interdisciplinary collaboration, and most importantly, perseverance. Jon Kolko. Wicked Problems. 2012 p. 11 https://www.wickedproblems.com/
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- 30. Creative Exhaust “All ofthe byproducts of your creative process is your creative exhaust. Your thought processes, blog posts, napkin sketches, Dribbble shots, Youtube tutorials, first drafts, Github repositories, bug fixes, snapshots of works in progress all have tremendous value for yourself and for others. In fact, our creative exhaust can end up becoming much more impactful than our own individual work. It’s not about the work you do, but rather what that work enables others to do.” — Brad Frost http://bradfrost.com/blog/post/creative-exhaust/ Accessed 14 Oct. 2015 Creative exhaust, the power of being open by default: Brad Frost at TEDxGrandviewAve https://www.youtube.com/watch?v=7rW9vTrN6OU
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- 35. “The new prosumers,on the other hand, are increasingly banding together in lateral networks, producing and sharing information goods, renewable energy, 3D printed products, and an array of services on a global Collaborative Commons at near zero marginal costs, disrupting the workings of capitalist markets. [. . .] If there is an underlying theme to the emerging cultural conflict, it is the “monopolization vs. democratization of everything.”” — Jeremy Rifkin, (2014), The Zero Marginal Cost Society: The Internet of Things, the Collaborative Commons, and the Eclipse of Capitalism
- 36. Values: Transparency, Openness,MPRL (Meet People in Real Life), Permanent Beta, Inclusion, Play, Feedbak, Independence http://ouishare.net/en/about/values Accessed 12 Oct. 2015
- 37. “Connecting actors inthe Open Web” http://labs.ouishare.net/ Accessed 12 Oct. 2015
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- 39. “There are almostno specialists anymore. Homo universalis 2.0 is in fact not just one person but several at once, linked by the network.” — Mariëtte Dölle Gerritzen and Lovink, Everyone is a Designer in the Age of Social Media (2010), p. 19
- 40. The five alternatives Hereare the five flag designs that NZ voters will rank in the first binding referendum in 2015. https://www.govt.nz/browse/engaging-with-government/the-nz-flag-your-chance-to-decide/the-five-alternatives/
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- 45. Conclusions > Open educationand Open Design can inform one another. > It’s not about the wood (resource, artefact); it’s about singing around the camp fire (social, participatory, experiential). > Develop strategies that integrate collaboration (in groups), cooperation (over networks) + crowdsourcing & dissemination.