I'm Rich Baraniuk and what I'd like to talk a little bit about today are some ideas that I think have just tremendous resonance with all the things that have been talked about the last two days. So many different points of resonance that it's going to be difficult to bring them all up, but I'll try to do my best. Does anybody remember these?
Ja sam Rich Baraniuk i želim danas s vama kratko razgovarati o nekim idejama za koje mislim da se fantastično uklapaju u sve o čemu smo govorili tijekom zadnja dva dana. Postoji toliko drugačijih točaka poklapanja da će biti teško spomenuti ih sve, no dat ću sve od sebe. Sjeća li se itko ovih?
(Laughter)
(Smijeh)
OK, so these are LP records and they've been replaced, right? They've been swept away over the last two decades by these types of world-flattening digitization technologies, right? And I think it was best witnessed when Thomas was playing the music as we came in the room today. What's happened in the music world is there's a culture, or an ecosystem that's been created that, if you take some words from Apple, the catchphrase -- that we create, rip, mix and burn. What I mean by that is that anyone in the world is free and allowed to create new music and musical ideas. Anyone in the world is allowed to rip or copy musical ideas, use them in innovative ways. Anyone is allowed to mix them in different types of ways, draw connections between musical ideas, and people can burn them or create final products and continue the circle. And what that's done is it's created, like I said, a vibrant community that's very inclusive, with people continually working to connect musical ideas, innovate them and keep things constantly up to date. Today's hit single is not last year's hit single.
OK, ovo su gramofonske ploče koje su zamijenjene, zar ne? Pometene su tijekom zadnja dva desetljeća raznim vrstama digitalizacijskih tehnologija, zar ne? Mislim da je to najbolje pokazano dok je Thomas puštao glazbu kako smo ulazili u prostoriju danas. Što se dogodilo svijetu glazbe je kultura, stvoren je svojevrsni ekosustav, koji, ako uzmete neke Apple-ove riječi, fraze -- koje stvaramo, skidamo, miješamo i pržimo. Pod time mislim da je bilo kome u svijetu dopušteno stvarati novu glazbu i glazbene ideje. Bilo tko na svijetu može pržiti ili kopirati glazbene ideje i koristiti ih na inovativan način. Bilo kome na svijetu je dopušteno da ih miješa na razne načine, povlači veze između glazbenih ideja, i ljudi ih mogu spržiti ili stvoriti krajnji rezultat i nastaviti krug. Time dobijamo, kao što sam rekao, živu zajednicu koja je vrlo uključiva, s ljudima koji neprestano rade na spajanju glazbenih ideja, inoviraju ih i drže sve stvari bez prestanka ažuriranima. Današnji hit singl nije prošlogodišnji hit singl.
But I'm not here to talk about music today. I'm here to talk about books. In particular, textbooks and the kind of educational materials that we use every day in school. Has anyone here ever been to school?
No, nisam danas ovdje da pričam o glazbi. Ovdje sam da pričam o knjigama. Specifično, udžbenicima i vrsti obrazovnih materijala koje svakodnevno koristimo u školama. Je li itko ikada bio u školi?
(Laughter)
(Smijeh)
OK, does anybody realize there's a crisis in our schools, around the world? I'm not going to spend too much time on that, but what I want to talk about is some of the disconnects that appear when an author publishes a book. That in fact, the publishing process -- just because of the fact that it's complicated, it's heavy, books are expensive -- creates a sort of a wall between authors of books and the ultimate users of books, be they teachers, students or just general readers. And this is even more true if you happen to speak a language other than one of the world's major languages, and especially English. I'm going to call these people below the barrier "shutouts" because they're really shut out of the process of being able to share their knowledge with the world. And so what I want to talk about today is trying to take these ideas that we've seen in the musical culture and try to bring these towards reinventing the way we think about writing books, using them and teaching from them. So, that's what I'd like to talk about and, really, how we get from where we are now to where we need to go.
OK, shvaća li itko da postoji kriza u našim školama, diljem svijeta? Neću puno vremena potrošiti na to, a želim pričati o pucanju veza koje se dogode kada autor objavi knjigu. To, ustvari, postupak izdavanja -- iz razloga što je kompliciran, težak, čini knjige skupima -- stvara zid između autora knjiga i krajnjih korisnika knjiga, bili oni profesori, studenti ili samo obični čitatelji. Ovo je još i više istina ako govorite više od jednog važnog svjetskog jezika, posebice engleskog. Zvat ću te ljude ispod granice "isključenima" jer su stvarno isključeni iz procesa mogućnosti dijeljenja njihovog znanja s ostatkom svijeta. Ono o čemu ću danas pričati je pokušaj uzimanja ideja koje smo vidjeli u glazbenog kulturi i pokušati doći do novog načina na koji razmišljamo o knjigama, kako ih koristimo i podučavamo iz njih. O tome bih želio pričati i kako da dođemo otkud jesmo do tamo gdje trebamo ići.
The first thing I'd like you to do is a little thought experiment. Imagine taking all the world's books. OK, everybody imagine books and imagine just tearing out the pages. So, liberating these pages and imagine digitizing them and then storing them in a vast, interconnected, global repository. Think of it as a massive iTunes for book-type content. And then take that material and imagine making it all open, so that people can modify it, play with it, improve it. Imagine making it free, so that anyone in the world can have access to all of this knowledge, and imagine using information technology so that you can update this content, improve it, play with it, on a timescale that's more on the order of seconds instead of years. Instead of editions of a book coming out every two years, imagine them coming out every 25 seconds.
Prva stvar koju želim napraviti je mali misaoni eksperiment. Zamislite da uzmete sve svjetske knjige. U redu, svi zamislite knjige i kako trgate stranice iz njih. Dakle, oslobađajući ove stranice i zamislite kako ih digitalizirate i spremate u ogromnom, međupovezanom, globalnom odlagalištu. Zamislite masivni iTunes za sadržaj iz knjiga. Zatim uzmite taj materijal i zamislite da je sav otvoren tako da ga ljudi mogu modificirati, igrati se s njim, unaprijediti ga. Zamislite da ga napravite besplatnim, tako da bilo tko na svijetu ima pristup ovom znanju, i zamislite da koristite informacijsku tehnologiju kako bi ažurirali ovaj sadržaj, unaprijedili ga, igrali se njime, u vremenu koje je bliže sekundama nego godinama. Umjesto da izdanja knjiga dolaze svake dvije godine, zamislite za izlaze svakih 25 sekundi.
So, imagine we could do that and imagine we could put people into this. So that we could truly build an ecosystem with not just authors, but all the people who could be or want to be authors in all the different languages of the world, and I think if you could do this, it would be called -- I'm just going to refer to it as a knowledge ecosystem. So, really, this is the dream, and in a sense what you can think of it is we're trying to enable anyone in the world, I mean anyone in the world --
Zamislite da to možemo napraviti i da to možemo spojiti s ljudima. Tako bi stvarno mogli napraviti ekosustav ne samo s autorima, već i svim ljudima koji bi mogli ili htjeli biti autori na svim raznim jezicima na svijetu, i mislim da ako bi mogli napraviti ovo, zvalo bi se -- samo ću se referirati na to kao na ekosustav znanja. Dakle, ovo je san, u smislu na koji možete zamisliti, pokušavamo omogućiti svima na svijetu, i mislim svima na svijetu --
(Laughter)
(Smijeh)
to be their own educational DJ, creating educational materials, sharing them with the world, constantly innovating on them. So, this is the dream.
da budu vlastiti obrazovni DJ, stvaraju edukativni materijal, dijele ga sa svijetom, neprestano ga inovirajući. Dakle, ovo je san.
In fact, this dream is actually being realized. Over the last six-and-a-half years, we've been working really hard at Rice University on a project called Connexions, and so what I'd like to do for the rest of the talk is just tell you a little bit about what people are doing with Connexions, which you can kind of think of as the counterpoint to Nicholas Negroponte's talk yesterday, where they're working on the hardware of bringing education to the world. We're working on the open-source tools and the content. So, that's sort of to put it in perspective here.
Ustvari, ovaj san je zapravo u postupku realizacije. Tijekom zadnjih šest i pol godina, iznimno smo se trudili na sveučilištu Rice oko projekta koji se zove Connexions, i htio bih za ostatak govora reći vam nešto o tome što ljudi rade s Connexions, što možete uzeti kao protutezu jučerašnjem govoru Nicholasa Negropontea, gdje rade na hardveru za donošenje obrazovanja svijetu. Radimo na alatima i sadržaju otvorenog pristupa. Tako ćemo staviti stvari u perspektivu.
So, create. What are some of the people that are using these kind of tools? Well, the first thing is, there's a community of engineering professors, from Cambridge to Kyoto, who are developing engineering content in electrical engineering to develop what you can think of as a massive, super textbook that covers the entire area of electrical engineering. And not only that -- it can be customized for use in each of their own individual institutions. If people like Kitty Jones, a shut-out -- a private music teacher and mom from Champagne, Illinois, who wanted to share her fantastic music content with the world, on how to teach kids how to play music -- Her material is now used over 600,000 times per month. Tremendous use. In fact, a lot of this use coming from United States K-12 schools, because anyone who's involved in a school scale back, the first thing that's cut is the music curriculum. And so this is just indicating the tremendous thirst for this kind of open, free content. A lot of teachers are using this stuff.
Dakle, stvarajte. Tko su neki od ljudi koji koriste ovu vrstu alata? Prva stvar je, da postoji zajednica profesora inženjerstva, od Cambridgea do Kyota, koji razvijaju inženjerski sadržaj u području elektro-inženjerstva kako bi razvili ono što možete zamisliti kao masivni, super udžbenik koji pokriva cijelo područje elektro-inženjerstva. I ne samo to -- može biti oblikovan za korištenje u svakoj instituciji zasebno. Ako ljudi poput Kitty Jones, iskjučene -- privatne učiteljice glazbe i majke iz Champagnea, Illinois, koja je htjela podijeliti svoj fantastičan glazbeni sadržaj sa svijetom, o tome kako podučavati klince da sviraju -- Njeni materijali su sada korišteni preko 600.000 puta mjesečno. Ogromna količina korištenja. Ustvari, mnogo ovog korištenja dolazi od K-12 škola u SAD-u, jer bilo tko tko je uključen u obrazovnu reformu, zna da je prva stvar koja se ukida je glazbeni kurikulum. Ovo jasno pokazuje veliku žeđ za ovu vrstu otvorenog, besplatnog sadržaja. Mnogo profesora koristi ove stvari.
What about ripping? What about copying, reusing? A team of volunteers at the University of Texas at El Paso -- graduate students translating this engineering super textbook ideas. And within about a week, having this be some of our most popular material in widespread use all over Latin America, and in particular in Mexico, because of the open, extensible nature of this. People, volunteers and even companies that are translating materials into Asian languages like Chinese, Japanese and Thai, to spread the knowledge even further.
Što sa skidanjem? Što s kopiranjem, ponovnim korištenjem? Tim dobrovoljaca na Sveučilištu u Texasu u El Pasu -- diplomci, prevode ove ideje za ovaj inženjerski super udžbenik. U roku tjedan dana, postao je jedan od naših najpopularnijih materijala u širokoj upotrebi diljem Latinske Amerike i posebice u Meksiku, zbog otvorene, proširive prirode. Ljudi, dobrovoljci, pa i poduzeća koji prevode materijale na azijske jezike kao kineski, japanski i tajlandski, kako bi još više proširili znanje .
OK, what about people who are mixing? What does "mixing" mean? "Mixing" means building customized courses, means building customized books. Companies like National Instruments, who are embedding very powerful, interactive simulations into the materials, so that we can go way beyond our regular kind of textbook to an experience that all the teaching materials are things you can actually interact with and play around with and actually learn as you do.
U redu, a što je s ljudima koji miješaju? Što "miješanje" znači? "Miješanje" znači stvaranje prilagođenih tečajeva, znači stvaranje prilagođenih knjiga. Poduzeća kao National Instruments, koja ugrađuju vrlo snažne, interaktivne simulacije u materijale, kako bi mogli ići puno dalje od običnih udžbenika do iskustva da su svi materijali za učenje, stvari s kojima možete uzajamno djelovati, igrati se njima i zapravo učiti dok to radite.
We've been working with Teachers Without Borders, who are very interested in mixing our materials. They're going to be using Connexions as their platform to develop and deliver teaching materials for teaching teachers how to teach in 84 countries around the world. TWB is currently in Iraq, training 20,000 teachers supported by USAID. And to them, this idea of being able to remix and customize to the local context is extraordinarily important, because just providing free content to people has actually been likened by people in the developing world to a kind of cultural imperialism -- that if you don't empower people with the ability to re-contextualize the material, translate it into their own language and take ownership of it, it's not good.
Radili smo s Učiteljima bez granica, koji su vrlo zainteresirani za miješanje naših materijala. Koristit će Connexions kao njihovu platformu za razvoj i dostavu materijala za učenje, za učenje učitelja kako podučavati u 84 države svijeta. UBG su trenutno u Iraku, obučavaju 20.000 učitelja i podržani su od strane USAID-a. Njima je, ova ideja da mogu miješati i oblikovati lokalni sadržaj, nevjerojatno važna, jer samo pružanje besplatnog sadržaja ljudima se zapravo sviđa ljudima u svijetu u razvoju do razine svojevrsnog kulturnog imperijalizma -- da ako ne osposobite ljude s mogućnošću da prenamjene materijal, prevedu ih na svoj jezik i preuzmu vlasništvo nad time, nije dobro.
OK, other organizations we've been working with, UC Merced -- people know about UC Merced. It's a new university in California, in the Central Valley, working very closely with community colleges. They're actually developing a lot of their science and engineering curriculum to spread widely around the world in our system. And they're also trying to develop all of their software tools completely open-source. We've been working with AMD, which has a project called 50x15, which is trying to bring Internet connectivity to 50 percent of the world's population by 2015. We're going to be providing content to them in a whole range of different languages. And we've also been working with a number of other organizations. In particular, a bunch of the projects that are funded by Hewlett Foundation, who have taken a real leadership role in this area of open content.
U redu, druge organizacije s kojima smo radili, UC Merced -- ljudi znaju za UC Merced. To je novo Sveučilište u Kaliforniji, u Central Valleyu, koje vrlo blisko surađuje s javnim fakultetima. Oni razvijaju mnogo vlastitog znanstvenog i inženjerskog kurikuluma da bi ga proširili svijetom u našem sustavu. Također pokušavaju razviti sve svoje programske alate tako da su potpuno otvorenog pristupa. Radili smo s AMD-om, koji ima projekt zvan 50x15, koji pokušava donijeti internetsku vezu do 50% svjetske populacije do 2015. Pružit ćemo im sadržaje u širokom spektru jezika. Također smo surađivali s velikim brojem drugih organizacija. Točnije, mnogo projekata koji su financirani od strane Hewlettove zaklade, koja je preuzela pravu rukovodstvenu ulogu u području otvorenog sadržaja.
OK, burn -- I think this is, sort of, quite interesting. "Burn" is the idea of trying to create the physical instantiation of one of these courses. And I think a lot of you received -- I think all of you received one of these music books in your gift pack. A little present for you. Just to tell you quickly about it: this is an engineering textbook. It's about 300 pages long, hardbound. This costs -- anybody guess? How much would it cost in a bookstore?
U redu, prženje -- mislim da je ovo, na neki način, poprilično zanimljivo. "Prženje" je ideja pokušaja stvaranja, fizičko utjelovljenje jednog od tečaja. Mislim da je mnogo vas dobilo -- mislim da ste svi dobili jednu od ovih knjiga o glazbi među darovima. Mali poklon za vas. Reći ću vam ukratko o ovome: ovo je udžbenik inženjerstva. Dug je oko 300 stranica, tvrdi uvez. Ovo košta -- može li tko pogoditi? Koliko bi koštalo u knjižari?
(Audience) 65 dollars.
(Publika) 65 dolara.
Richard Baraniuk: OK. This costs 22 dollars to the student. Why does it cost 22 dollars? Because it's published on demand and it's developed from this repository of open materials. If this book were to be published by a regular publisher, it would cost at least 122 dollars.
Richard Baraniuk: U redu, ovo košta 22 dolara za studente. Zašto košta 22 dolara? Jer je objavljeno na zahjtev i razvijeno je iz odlagališta materijala otvorenog pristupa. Da je ovu knjigu izdao regularni izdavač, koštala bi najmanje 122 dolara.
So what we're seeing is moving this burning or publication process from the regular, sort of single-authored book towards community-authored materials that are modular, that are customized to each individual class and published on demand very inexpensively, either pushed out through Amazon or published directly through an on-demand press, like QOOP. And I think that this is an extraordinarily interesting area because there is tremendous area under this long tail in publishing. We're not talking about the Harry Potter end, right at the left side. We're talking about books on hypergeometric partial differential equations. Books that might sell 100 copies a year, 1,000 copies a year. There is tremendous sustaining revenue under this long tail to sustain open projects like ours, but also to sustain this new emergence of on-demand publishers, like QOOP, who produced these two books. And I think one of the things that you should take away from this talk is that there's an impending cut-out-the-middle-man disintermediation, that's going to be happening in the publishing industry. And it's going to reach a crescendo over the next few years, and I think that it's for our benefit, really, and for the world's benefit.
Dakle ono što vidimo je pokret prženja ili postupak izdavanja iz regularne knjige jednog autora prema materijalima kojima je autor zajednica, koji su modularni, tako da su oblikovani za svaki zaseban razred i objavljeni na zahtjev vrlo jeftino, ili putem Amazona ili izdani izravno putem tiskanja na zahtjev, poput QOOP. Mislim da je ovo nevjerojatno zanimljivo područje jer postoji ogromno područje pod ovim dugim repom u izdavaštvu. Ne govorimo o kraju gdje je Harry Potter, tamo na lijevoj strani. Govorimo o knjigama o hipergeometrijskim parcijalno diferencijalnim jednadžbama. Knjige koje možda prodaju 100 ili 1.000 primjeraka na godinu. Postoji ogroman podržavajući prihod ispod ovog dugog repa da podržava otvorene projekte poput našeg, no također da podržava ovu novu pojavu izdavača na zahtjev, poput QOOP, koji su proizveli ove dvije knjige. Mislim da je jedna od stvari koje bi trebali zapamtiti iz ovog govora da postoji prijetnja od uklanjanja posrednika, koja će se dogoditi industriji izdavanja. Postići će vrhunac kroz sljedećih nekoliko godina, i mislim da je to za našu korist, ustvari, za korist svijeta.
OK, so what are the enablers? What's really making all of this happen? There's tons of technology, and the only piece of technology that I really want to talk about is XML. How many people know about XML? Oh, great. So it's the future of the web, right? It's semantic representation of content. And what you can really think of XML in this case is it's the packaging that we're putting around these pages. Remember we took the book, tore the pages out? Well, what the XML is going to do is it's going to turn those pages into Lego blocks. XML are the nubs on the Lego that allow us to combine the content together in a myriad different ways, and it provides us a framework to share content. So, it lets you take this ecosystem in its primordial state of all this content, all the pages you've torn out of books, and create highly sophisticated learning machines: books, courses, course packs.
U redu, tko su ti koji omogućuju sve? Što stvarno omogućuje da se ovo sve dogodi? Postoji mnogo tehnologije, no jedini dio tehnologije o kojemu želim pričati je XML. Koliko vas zna za XML? Oh, super. To je budućnost interneta, zar ne? To je semantička reprezentacija sadržaja. Ono o čemu u vezi XML-a možete u ovom slučaju misliti je pakiranje koje stavljamo oko tih stranica. Sjećate se da smo uzeli knjigu i istrgali stranice? Ono što će XML učiniti je da će pretvoriti te stranice u Lego kocke. XML su izbočine na Lego kockama koje nam dopuštaju da kombiniramo sadržaj na nebrojeno načina, i pruža nam okvir za dijeljenje sadržaja. Dakle, dopušta vam da uzmete ovaj ekosustav u prvobitnom stanju svog sadržaja, sve stranice koje ste istrgali iz knjiga, da stvorite visoko sofisticirane strojeve za učenje: knjige, tečajeve, pakete.
It gives you the ability to personalize the learning experience to each individual student, so that every student can have a book or a course that's customized to their learning style, their context, their language and the things that excite them. It lets you reuse the same materials in multiple different ways, and surprising new ways. It lets you interconnect ideas, indicating how fields relate to each other. And I'll just give you my personal story. We came up with this six-and-a-half years ago because I teach the stuff in the red box.
Daje vam mogućnost da personalizirate iskustvo učenja za svakog pojedinog učenika, kako bi svaki učenik imao svoju knjigu ili tečaj koji je oblikovan po njihovom stilu učenja, njihovom sadržaju, njihovom jeziku i stvarima koje ih uzbuđuju. Dopušta vam da koristite iste materijale na više drugačijih načina, iznenađujućih novih načina. Dopušta vam na međusobno spajate ideje, indicirajući kako područja utječu jedno na drugo. Dat ću vam svoju osobnu priču. Smislili smo ovo prije 6 i pol godina jer ja podučavam ono što je u crvenoj kućici.
And my day job, as Chris said -- I'm an electrical engineering professor. I teach signal processing and my challenge was to show that this math -- Wow, about half of you have already fallen asleep just looking at the equation.
Moj dnevni posao, kao što je Chris rekao - ja sam profesor elektro-inženjerstva. Podučavam procesiranje signala i moj izazov je da pokažem ovu matematiku -- Wow, pola vas je zaspalo dok ste samo gledali u jednadžbu.
(Laughter)
(Smijeh)
But this seemingly dry math is actually the center of this tremendously powerful web that links technology -- that links really cool applications like music synthesizers to tremendous economic opportunities, but also governed by intellectual property. And the thing that I realized is there was no way that I, as an engineer, could write this book that would get all of this across. We needed a community to do it and we needed new tools to be able to interconnect these ideas. And I think that really, in a sense, what we're trying to do is make Minsky's dream come to a reality, where you can imagine all the books in a library actually starting to talk to each other. And people who are teachers out here -- whoever taught, you know this -- it's the interconnections between ideas that teaching is really all about.
No ova naoko suhoparna matematika je zapravo središte ogromne mreže koja povezuje tehnologiju -- koja povezuje vrlo fora aplikacije kao što su glazbeni sintisajzeri s ogromnim ekonomskim prilikama, ali s upravljanim intelektualnim vlasništvom. Ono što sam shvatio je da ne postoji način da ja, kao inženjer, napišem ovu knjigu koja bi sadržavala sve. Trebamo zajednicu da to napravi i trebamo nove alate da bi mogli povezivati ove ideje. I stvarno mislim da je, na neki način, to što pokušavamo ostvariti Minskyev san gdje možete zamisliti sve knjige u knjižnici kako zapravo međusobno razgovaraju. Ljudi koji su profesori ovdje -- tko god je podučavao, znate ovo -- unutarnje povezivanje ideja je oko čega se ideja podučavanja zapravo vrti.
OK, back to math. Imagine -- this is possible: that every single equation that you click on in one of your new e-texts is something that you're going to be able to explore and experiment with. So imagine your kid's algebra textbook in seventh grade. You can click on every single equation and bring up a little tool to be able to experiment with it, tinker with it, understand it. Because we really don't understand until we do. The same type of mark-up, like MathML, for chemistry. Imagine chemistry textbooks that actually understand the structure of how molecules are formed. Imagine Music XML that actually lets you delve into the semantic structure of music, play with it, understand it. It's no wonder that everybody's getting into it, right? Even the three wise men.
U redu, natrag na matematiku. Zamislite -- ovo je moguće: da je svaka jednadžba na koju kliknete u jednoj od vaših novih e-knjiga nešto što ćete moći istražiti i eksperimentirati. Zamislite knjigu iz matematike svog klinca u sedmom razredu. Možete kliknuti na svaku zasebnu jednadžbu i uz pomoć alata eksperimentirati njome, petljati njome, razumjeti ju. Jer stvarno, ne razumijemo dok ne radimo. Ista vrsta slučaja poput MathML, za kemiju. Zamislite udžbenike iz kemije koji stvarno razumiju kako su molekule tvorene. Zamislite Glazbu XML koja vam daje da uđete u semantičku strukturu glazbe, da se igrate njome, da ju razumijete. Nije ni čudo da sve zanima ovo, zar ne? Čak i Sveta tri kralja.
(Laughter)
(Smijeh)
OK, the second big enabler, and this is where I told a big lie. The second big enabler is intellectual property. Because, in fact, I got up here and I talked about how great the music culture is. We can share and rip, mix and burn, but in fact, that's all illegal. And we would be accused of [piracy] for doing that, because this music has been propertized. It's now owned, much of it by big industries. So, really, the key thing here is we can't let this happen. We can't let this Napster thing happen here. So, what we have to do is get it right from the very beginning. And what we have to do is find an intellectual property framework that makes sharing safe and makes it easily understandable. And the inspiration here is taken from open-source software. Things like Linux and the GPL.
U redu, sljedeći veliki pružatelj, i ovo je gdje sam rekao veliku laž. Drugi veliki pružatelj je intelektualno vlasništvo. Jer, ustvari, došao sam ovdje i pričao o tome kako je odlična glazbena kultura. Možemo dijeliti i pržiti i miješati, no ustvari, sve je to ilegalno. I mogli bismo biti optuženi za piratstvo za to, jer je glazba privatno vlasništvo. Sada je vlasništvo, velikim dijelom, velikih industrija. Ključna stvar ovdje je da ne možemo dopustiti da se ovo dogodi. Ne možemo dopustiti da se dogodi Napster ovdje. Moramo uspjeti od samog početka. Ono što trebamo napraviti je naći okvir intelektualnog vlasništva koji dijeljenje čini sigurnim i lako razumljivim. Inspiracija je uzeta iz softvera otvorenog pristupa. Stvari poput Linuxa i GPL-a.
The Creative Commons licenses. How many people have heard of creative commons? If you have not, you must learn about it. Creativecommons.org. At the bottom of every piece of material in Connexions and in lots of other projects, you can find their logo. Clicking on that logo takes you to an absolute no-nonsense, human-readable document, a deed, that tells you exactly what you can do with this content. In fact, you're free to share it, to do all of these things: to copy it, to change it, even to make commercial use of it, as long as you attribute the author. Because in academic publishing and much of educational publishing, it's really this idea of sharing knowledge and making impact. That's why people write, not necessarily making bucks. We're not talking about Harry Potter, right? We're at the long tail end here. Behind that is the legal code, very carefully constructed.
Creative Commonsa dozvola. Koliko vas je čulo za Creative Commons? Ako niste, morate naučiti o njima. Creativecommons.org Na dnu svakog materijala u Connexions i u mnogo drugih projekata, možete naći njihov logo. Klik na taj logo vas vodi do potpuno smislenog dokumenta za čitanje, koji vam govori točno što možete napraviti s tim sadržajem. Ustvari, slobodni ste ga dijeliti, raditi sve ove stvari: kopirati, promijeniti, čak i koristiti komercijalno, dok god djelo pripišete autoru. Jer u akademskom izdavanju i u mnogo obrazovnog izdavanja, ideja je širenje znanja i stvaranje utjecaja. Zato ljudi pišu, ne nužno da zarade. Ne govorimo ovdje o Harry Potteru, zar ne? Mi smo na dugom kraju ovdje. Iza toga se nalazi legalan kod, vrlo pažljivo sastavljen.
And Creative Commons is taking off -- over 43 million things out there, licensed with a Creative Commons license. Not just text, but music, images, video. And there's actually a tremendous uptake of the number of people that are actually licensing music to make it free for people who do this whole idea of re-sampling, ripping, mixing, burning and sharing.
Creative Commons polijeće -- preko 43 milijuna stvari postoji s dozvolom Creative Commonsa. Ne samo tekstovi, već glazba, slike, video. I postoji ogromno shvaćanje velikog broja ljudi koji zapravo slušaju glazbu kako bi ju činili besplatnom za ljude koji rade cijelu ideju promjene, prženja, miješanja i dijeljenja.
OK, I'd like to conclude with just the last few points. So, we've built this idea of a commons. People are using it. We get over 500,000 unique visitors per month, just to our particular site. MIT OpenCourseWare, which is another large open-content site, gets a similar number of hits. But how do we protect this? How do we protect it into the future? And the first thing that people are probably thinking is quality control, right? Because we're saying that anybody can contribute things to this commons. Anybody can contribute anything. So that could be a problem.
U redu, htio bih zaključiti samo s nekoliko zadnjih točaka. Izgradili smo ideju zajedničkog dijeljenja. Ljudi ju koriste. Imamo preko 500.000 jedinstvenih korisnika mjesečno, samo na našoj stranici. MIT OpenCourseWare, koja je još jedna velika stranica otvorenog sadržaja, ima sličan broj. No, kako da zaštitimo ovo? Kako da zaštitimo ovo u budućnosti? Prva stvar koju ljudi vjerojatno pomisle je kontrola kvalitete, zar ne? Jer kažemo da bilo tko može doprinijeti. Bilo tko može pridonijeti bilo čime. To bi mogao biti problem.
It didn't take long until people started contributing materials, for example, on lingerie, which is actually a pretty good module. The only problem is it's plagiarized from a major French feminist journal, and when you go to the supposed course website, it points to a lingerie-selling website. So this is a little bit of a problem. So we clearly need some kind of idea of quality control and this is really where the idea of review and peer review comes in. You come to TED. Why do you come to TED? Because Chris and his team have ensured that things are very, very high quality, right? And so we need to be able to do the same thing. And we need to be able to design structures, and what we're doing is designing social software to enable anyone to build their own peer review process, and we call these things "lenses." And basically what they allow is anyone out there can develop their own peer-review process, so that they can focus on the content in the repository that they think is really important. And you can think of TED as a potential lens.
Nije dugo trebalo da ljudi počnu doprinositi materijalima, na primjer, za žensko donje rublje, što je ustvari poprilično dobar modul. Jedini problem je da je plagijat iz poznatih francuskih ženskih novina, i kada idete na stranicu tečaja, dovede vas na stranicu za prodaju donjeg rublja. Dakle ovo je mali problem. Očito trebamo neku ideju kontrole kvalitete i ovo je gdje dolazimo do ideje pregleda i suradničkih pregleda. Došli ste na TED. Zašto ste došli na TED? Jer su Chris i njegov tim osigurali da su stvari na vrlo, vrlo visokoj razini, zar ne? Moramo biti u mogućnosti napraviti istu stvar. Moramo biti u mogućnosti dizajnirati strukture, a ono što radimo je dizajn društvenog softvera da omogućimo svima da stvore vlastiti postupak suradničkih pregleda, i zovemo ove stvari "lećama". I u osnovi, ono što dopuštaju, je da bilo tko razvije svoj proces suradničkog pregleda, kako bi se mogli fokusirati na sadržaj u odlagalištu za koji misle da je stvarno važan. Možete zamisliti TED kao potencijalnu leću.
So I'd just like to end by saying: you can really view this as a call to action. Connexions and open content is all about sharing knowledge. All of you here are tremendously imbued with tremendous amounts of knowledge, and what I'd like to do is invite each and every one of you to contribute to this project and other projects of its type, because I think together we can truly change the landscape of education and educational publishing.
Htio bih završiti tako da vam kažem: možete ovo vidjeti kao poziv na akciju. Connexions i otvoreni sadržaj je o dijeljenju znanja. Svi ste ovdje iznimno prožeti iznimnom količinom znanja, i volio bih pozvati svakoga od vas da doprinosite ovom projektu i drugim projektima ovog tipa, jer mislim da zajedno stvarno možemo promijeniti pejzaž obrazovanja i obrazovnog izdavanja.
So, thanks very much.
Hvala vam lijepa.