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First, this is not actually a philanthropic endeavor in the classic sense of "donating" something to those with less. Instead, the open education movement promotes conditions for self-empowerment, and one of the central premises of the movement focuses on the freedom to be educated in the manner of one's choosing. Second, the permissions granted in defining an open educational resource explicitly enable the localization and adaptation of materials to be more locally appropriate. Every person should have the right to be educated in his/her native language, and in a manner that is most suitable to the personal and cultural contexts in which they reside. Third, we have good reason to believe that the contributions to the global open educational enterprise from those in resource-limited settings are at least as valuable as contributions from anyone else. While we have much to do to enable truly equitably participation among all of the citizens of the globe, there is widespread agreement that the ultimate goal is some type of open educational network, not a unidirectional pipeline.

educational resources commissioned and paid for directly by the public sector should be released as open educational resources. This ensures that the taxpayers who financed these resources can benefit from them fully. Of course, this principle cannot extend to resources paid for indirectly with public funds, such as materials written by professors at public universities. The Declaration does strongly encourage these professors and institutions to make all of their resources open. However, in the end, this is their choice.

resources should be licensed to facilitate use, revision, translation, improvement and sharing by anyone

many of the participants advocated for inclusion of language that indicates that the license should ideally impose no legal constraints other than a requirement by the creator for appropriate attribution or the sharing of derivative works. This degree of openness represents the 'gold standard' in open educational resource licensing. However, it is also recognized that some authors and publishers may wish to disallow commercial uses (non-commercial). Resources licensed with this additional restriction are still open educational resources, but do come with risks and costs.

we suggest that you use one of the Creative Commons (CC) licenses, for several reasons: The licenses have human-readable deeds, which is (generally) easier for people to understand.The licenses have a computer-readable component which enables search and filtering by license status, an increasingly important consideration in an era of exploding online content.The licenses have been ported to many countries around the world, with more being added every year, which guarantees their worldwide application and enforcement.The licenses are already the most frequently used licenses for open educational resources, which will make it easier for users to learn about their rights, as well as use the materials in interesting ways.

Open educational resources licensed using CC-BY have no restrictions on use beyond attribution for the original creator. Open educational resources licensed using CC-BY-SA also require attribution, but have the additional restriction of requiring that the derived material be licensed in the same manner as the original(s), thus ensuring their continued availability as open educational resources.

n most cases, the NC term is likely to have undesired repercussions for your work. If you are thinking of restricting commercial activity, ask yourself the following questions: What is the goal of doing so? Is it that the creators wish to make money from their contributions? Is this likely? Is it assumed that all for-profit activity is somehow inimical to education? What are the costs of restricting commercial use of open educational resources and do you wish to incur them? For example, is it your goal to forbid a for-profit publisher in a developing country from printing copies of your materials and distributing them there?

If an author's primary purpose in creating open educational resources is for it to be used as widely, freely, and creatively as possible, then using CC-BY is the better choice

CC-BY allows for a variety of motivations, including the possibility of commercial success, to drive users to adapt and re-purpose their materials.

f an author's primary purpose in creating open educational resources is for that material to never leave the educational commons, such as it is, then you may want to apply the SA term. In this case, the possibilities for viable commercial derivatives, though not disallowed, are diminished, and so users motivated to adapt materials for that purpose are unlikely to participate. In addition, open educational resources licensed with an SA term are only interoperable with other SA materials, which seriously limits their capacity for re-mixing.

There are two key points we would ask you to consider prior to applying the ND term. First, are you willing to prevent all of the wonderful ways in which your work might be improved upon just for the sake of preventing a few derivatives that you would consider inferior? It is worth remembering that it is the granting of freedoms to share, reprint, translate, combine, or adapt that makes open educational resources educationally different from those that can merely be read online for free.

you must remember that digital resources are not consumable goods, in the sense that they can be shared infinitely without any loss of value for the original. As such, if inferior derivatives are created, those creations have done nothing to diminish the quality of your original work, which will remain available for others to use or improve upon as they wish.

there is absolutely no restriction on use of public domain materials. In addition to being able to freely use such materials, you are free to adapt public domain materials and then license the derivative works in any way you choose, including standard all-rights-reserved copyright. You have to apply an open license if you want your contribution to add to the pool of open educational resources.

Perhaps the most important breakthrough was Google's willingness to relinquish control of the user-end of the transaction, instead of trying to lock them in with proprietary technology and restrictive licensing

O'Reilly took a second Web 2.0 principle from Peer-to-Peer pioneer BitTorrent, which works by completely decentralising the delivery of files, with every client also functioning as a server. The more popular a file, is, the faster it can be served, since there are more users providing bandwidth and fragments of the file. Thus, "the service automatically gets better the more people use it".

Taking another model from open source, users are treated as "co-developers", actively encouraged to contribute, and monitored in real time to see what they are using, and how they are using it.

"Until Web 2.0 the learning curve to creating websites was quite high, complex, and a definite barrier to entry," says the third of our triumvirate of Tims, Tim Bray, director of Web Technologies at Sun Microsystems.

Web 2.0 takes some of its philosophical underpinning from James Surowiecki's book The Wisdom of Crowds, which asserts that the aggregated insights of large groups of diverse people can provide better answers and innovations than individual experts.

In practice, even fewer than 1% of people may be making a useful contribution - but these may be the most energetic and able members of a very large community. In 2006 1,000 people, just 0.003% of its users, contributed around two-thirds of Wikipedia's edits.

Ajax speeds up response times by enabling just part of a page to be updated, instead of downloading a whole new page. Nielsen's objections include that this breaks the "back" button - the ability to get back to where you've been, which Nielsen says is the second most used feature in Web navigation.

"Everybody who has a Web browser has got that platform," says Berners-Lee, in a podcast available on IBM's developerWorks site. "So the nice thing about it is when you do code up an Ajax implementation, other people can take it and play with it."

Web 2.0 is a step on the way to the Semantic Web, a long-standing W3C initiative to create a standards-based framework able to understand the links between data which is related in the real world, and follow that data wherever it resides, regardless of application and database boundaries.

The problem with Web 2.0, Pemberton says, is that it "partitions the web into a number of topical sub-webs, and locks you in, thereby reducing the value of the network as a whole."

How do you decide which social networking site to join? he asks. "Do you join several and repeat the work?" With the Semantic Web's Resource Description Framework (RDF), you won't need to sign up to separate networks, and can keep ownership of your data. "You could describe it as a CSS for meaning: it allows you to add a small layer of markup to your page that adds machine-readable semantics."

The problems with Web 2.0 lock-in which Pemberton describes, were illustrated when a prominent member of the active 1%, Robert Scoble, ran a routine called Plaxo to try to extract details of his 5,000 contacts from Facebook, in breach of the site's terms of use, and had his account disabled. Although he has apparently had his account reinstated, the furore has made the issue of Web 2.0 data ownership and portability fiercely topical.

when Google announced its OpenSocial set of APIs, which will enable developers to create portable applications and bridges between social networking websites, Facebook was not among those taking part. Four years after O'Reilly attempted to define Web 2.0, Google, it seems, remains the standard-bearer, while others are forgetting what it was supposed to be about.

hat, exactly, constitutes a valid, original work? What are the implications for how we assess and reward creativity? Can a college or university tap the same sources of innovative talent and energy as Google or Flickr? What are the risks of permitting or opening up to this activity?

Remix is the reworking or adaptation of an existing work. The remix may be subtle, or it may completely redefine how the work comes across. It may add elements from other works, but generally efforts are focused on creating an alternate version of the original. A mashup, on the other hand, involves the combination of two or more works that may be very different from one another. In this article, I will apply these terms both to content remixes and mashups, which originated as a music form but now could describe the mixing of any number of digital media sources, and to data mashups, which combine the data and functionalities of two or more Web applications.

Harper's article "The Ecstasy of Influence," the novelist Jonathan Lethem imaginatively reviews the history of appropriation and recasts it as essential to the act of creation.3

Lethem's article is a must-read for anyone with an interest in the history of ideas, creativity, and intellectual property. It brilliantly synthesizes multiple disciplines and perspectives into a wonderfully readable and compelling argument. It is also, as the subtitle of his article acknowledges, "a plagiarism." Virtually every passage is a direct lift from another source, as the author explains in his "Key," which gives the source for every line he "stole, warped, and cobbled together." (He also revised "nearly every sentence" at least slightly.) Lethem's ideas noted in the paragraph above were appropriated from Siva Vaidhyanathan, Craig Baldwin, Richard Posner, and George L. Dillon.

Reading Walter Benjamin's highly influential 1936 essay "The Work of Art in the Age of Mechanical Reproduction,"4 it's clear that the profound effects of reproductive technology were obvious at that time. As Gould argued in 1964 (influenced by theorists such as Marshall McLuhan5), changes in how art is produced, distributed, and consumed in the electronic age have deep effects on the character of the art itself.

Yet the technology developments of the past century have clearly corresponded with a new attitude toward the "aura" associated with a work of invention and with more aggressive attitudes toward appropriation. It's no mere coincidence that the rise of modernist genres using collage techniques and more fragmented structures accompanied the emergence of photography and audio recording.

Educational technologists may wonder if "remix" or "content mashup" are just hipper-sounding versions of the learning objects vision that has absorbed so much energy from so many talented people—with mostly disappointing results.

The question is, why should a culture of remix take hold when the learning object economy never did?

when most learning object repositories were floundering, resource-sharing services such as del.icio.us and Flickr were enjoying phenomenal growth, with their user communities eagerly contributing heaps of useful metadata via simple folksonomy-oriented tagging systems.

the standards/practices relationship implicit in the learning objects model has been reversed. With only the noblest of intentions, proponents of learning objects (and I was one of them) went at the problem of promoting reuse by establishing an arduous and complex set of interoperability standards and then working to persuade others to adopt those standards. Educators were asked to take on complex and ill-defined tasks in exchange for an uncertain payoff. Not surprisingly, almost all of them passed.

Discoverable Resources

Educators might justifiably argue that their materials are more authoritative, reliable, and instructionally sound than those found on the wider Web, but those materials are effectively rendered invisible and inaccessible if they are locked inside course management systems.

It's a dirty but open secret that many courses in private environments use copyrighted third-party materials in a way that pushes the limits of fair use—third-party IP is a big reason why many courses cannot easily be made open.

The potential payoff for using open and discoverable resources, open and transparent licensing, and open and remixable formats is huge: more reuse means that more dynamic content is being produced more economically, even if the reuse happens only within an organization. And when remixing happens in a social context on the open web, people learn from each other's process.

Part of making a resource reusable involves making the right choices for file formats.

To facilitate the remixing of materials, educators may want to consider making the source files that were used to create a piece of multimedia available along with the finished result.

In addition to choosing the right file format and perhaps offering the original sources, another issue to consider when publishing content online is the critical question: "Is there an RSS feed available?" If so, conversion tools such as Feed2JS (http://www.feed2JS.org) allow for the republication of RSS-ified content in any HTML Web environment, including a course management system, simply by copying and pasting a few lines of JavaScript code. When an original source syndicated with RSS is updated, that update is automatically rendered anywhere it has been republished.

Jack Schofield

Guardian Unlimited

"An API provides an interface and a set of rules that make it much easier to extract data from a website. It's a bit like a record company releasing the vocals, guitars and drums as separate tracks, so you would not have to use digital processing to extract the parts you wanted."1

What's new about mashed-up application development? In a sense, the factors that have promoted this approach are the same ones that have changed so much else about Web culture in recent years. Essential hardware and software has gotten more powerful and for the most part cheaper, while access to high-speed connectivity and the enhanced quality of online applications like Google Docs have improved to the point that Tim O'Reilly and others can talk of "the emergent Internet operating system."15 The growth of user-centered technologies such as blogs have fostered a DIY ("do it yourself") culture that increasingly sees online interaction as something that can be personalized and adapted on the individual level. As described earlier, light syndication and service models such as RSS have made it easier and faster than ever to create simple integrations of diverse media types. David Berlind, executive editor of ZDNet, explains: "With mashups, fewer technical skills are needed to become a developer than ever. Not only that, the simplest ones can be done in 10 or 15 minutes. Before, you had to be a pretty decent code jockey with languages like C++ or Visual Basic to turn your creativity into innovation. With mashups, much the same way blogging systems put Web publishing into the hands of millions of ordinary non-technical people, the barrier to developing applications and turning creativity into innovation is so low that there's a vacuum into which an entire new class of developers will be sucked."16

The ability to "clone" other users' mashups is especially exciting: a newcomer does not need to spend time learning how to structure the data flows but can simply copy an existing framework that looks useful and then make minor modifications to customize the result.19

As with content remixing, open access to materials is not just a matter of some charitable impulse to share knowledge with the world; it is a core requirement for participating in some of the most exciting and innovative activity on the Web.

"My Maps" functionality

For those still wondering what the value proposition is for offering an open API, Google's development process offers a compelling example of the potential rewards.

Elsewhere, it is difficult to point to significant activity suggesting that the mashup ethos is taking hold in academia the way it is on the wider Web.

Yet for the most part, the notion of the data mashup and the required openness is not even a consideration in discussions of technology strategy in higher educational institutions. "Data integration" across campus systems is something that is handled by highly skilled professionals at highly skilled prices.

Revealing how a more adventurous and inclusive online development strategy might look on campus, Raymond Yee recently posted a comprehensive proposal for his university (UC Berkeley), in which he outlined a "technology platform" not unlike the one employed by Amazon.com (http://aws.amazon.com/)—resources and access that would be invaluable for the institution's programmers as well as for outside interests to build complementary services.

All too often, college and university administrators react to this type of innovation with suspicion and outright hostility rather than cooperation.

those of us in higher education who observe the successful practices in the wider Web world have an obligation to consider and discuss how we might apply these lessons in our own contexts. We might ask if the content we presently lock down could be made public with a license specifying reasonable terms for reuse. When choosing a content management system, we might consider how well it supports RSS syndication. In an excellent article in the March/April 2007 issue of EDUCAUSE Review, Joanne Berg, Lori Berquam, and Kathy Christoph listed a number of campus activities that could benefit from engaging social networking technologies.26

What might happen if we allow our campus innovators to integrate their practices in these areas in the same way that social networking application developers are already integrating theirs? What is the mission-critical data we cannot expose, and what can we expose with minimal risk? And if the notion of making data public seems too radical a step, can APIs be exposed to selected audiences, such as on-campus developers or consortia partners?