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>> Vance Stevens: We're live!
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Hello, everybody. Somehow my video disappeared.
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It's there, but that's my - it's just an avatar format.
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[missed words]
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OK, well anyway, this is Vance Stevens in Abu Dhab... sorry, in L.A.
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I'm living in L.A. now, if you want to know where I'm living.
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Today is the 8th of December.
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They move me around so much, you know.
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And, anyway, it's the 8th of December 2013.
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We're talking with a good friend of mine, Phil Hubbard,
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from Stanford University in Palo Alto, California.
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And he's been doing some really neat stuff in Cal.
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I've known him for a long time in the Cal intersection Tea [missed words]
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>> Phil Hubbard: Since we were kids.
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>> Stevens: We were, 20 years ago
[Hubbard laughs]
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>> Hubbard: reaching 30 [check]
[background voice]
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>> Stevens: Someone has a -- someone needs to have a headset on.
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[missed words] is muted.
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Errh not sure: it could be someone listening to the stream.
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Yeah, if you're listening to the stream -- OK.
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Their call has gone away [check]
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Someone has corrected it, that's good.
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All right, well, OK. Someone has announced in the stream chat that they're listening to it there.
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So that's good, everything seems to be working.
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We're doing a Hangout on Air, as we often do.
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We're streaming it on webheadsinaction.org/live
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At the moment we have six people in the hangout,
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there's room for four more.
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So if anyone is listening on the stream and would like to join us, they can.
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And right now we've got Claire Siskin and Jim Buckingham, Rita Zeinstejer and
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let's see, and also Rob, Rob is there, and me, Vance Stevens. Rob Permanus, is that correct?
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Correct me if I'm wrong. Permanus, Permanus - how do you pronounce your name?
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>> Hubbard: You have to unmute him chuckles
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>> Stevens: it's Perhamus -- Perhamus, OK, Good, I'll never forget that again, all right.
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Thank you very much, Rob. Rob is an occasional participant in our hangouts.
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Well Phil, take it away and anybody who wants to --
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by the way, you're all muted by default when you come into the hangout.
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You can unmute yourself.
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If you're going to unmute yourself and talk, please mute yourself again,
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so we don't get keyboard noises and things like that.
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And there's Elizabeth Anne, also shown up from Grenoble in France.
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And Halima [check] in Tashkent has also joined us, I see.
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>> Hubbard [check] I think we're great, well, hello, everybody.
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It's Good Morning for me, a little early in the morning,
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but the sun is beginning to show through the back window here.
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Thank you all for being here from all over the world.
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What I wanted to do today is talk about largely an idea and a project that I've been working on
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for the last couple of years, very sporadically.
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Unfortunately I get interrupted easily, as I'm sure all of you do,
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so what started out as a -- what I hoped was going to be a much more robust collection of materials
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has turned out to be a little more anemic
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but I still think that I have enough here that I can demonstrate the idea
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and especially share my thoughts about how to go
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about dealing with this relatively new notion of curation,
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although in some ways, maybe it's just a label for an old notion that we've had for quite some time.
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So, let me give you a little bit of the background,
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like several of the things I've worked on in the last few years,
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like learner training.
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This is something that has emerged out of my classroom experience
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with an advanced listening and vocabulary class,
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and I see Vance is showing some of the slides now.
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The class is for graduate students at Stanford
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and it's a really nice sandbox for playing with ideas,
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because these are -- well, they're all in graduate school already,
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they're, for the most part, in the high 90's onwards to the 100s in the TOEFL iBT
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so they really are advanced in that sense.
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And many of them are taking the course because we require them to do it.
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So they're kind of a captive audience
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but it's also a small course: we have a maximum 14 students in it
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and it allows me to not only play around with ideas, but get a chance to talk to the students afterward,
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not usually with formal research, but just informally as part of our normal tutorial sessions
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and find out what they thought about them and what I can do to make them work a little better.
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So, the problem that I noticed - an important part of this class
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is that students do independent projects
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and those independent projects are supposed to be for a minimum of three hours a week.
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Sounds like I am getting some echo in the background, but I will keep pushing through here..
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Uhh.. those projects are for three hours a week
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and they are responsible for doing the selection of the material
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with my help and with my guidance both before and after.
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And over the years, I have discovered that they are actually not really good at that.
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What they are good at is finding material that is interesting to them.
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But, they are not necessarily good at finding material that helps them.
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They discover that on their own a little bit down the road
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and often it doesn't become clear to both of us
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because I have a very slow learning curve and quickly forget things.
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So, I get to the end of the class and then I go
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"Oh, I should have provided them with a little more guidance.".
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So, about 2 years ago, I started doing this
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and it came as a juxtaposition of a couple of things.
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First of all, just my own general interest in the development of autonomy had been growing
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and as I have gone out and collected materials that I would just use in class,
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it was pretty clear to me that there is a huge amount of really interesting materials out there.
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And people have been collecting these for a while
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and teachers have been building lessons out of them
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-- sometimes pretty sophisiticated lessons --
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but I needed something that students could work with on their own.
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And so, I wanted to find a way to help them without just my advice
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as to how to look for materials, to actually start collecting materials
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in ways that would still give them quite a bit of freedom of choice
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but would also make it better as a language learning experience.
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As part of this course, they are also required to build vocabulary.
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They have to identify at least 35 new words and phrases every week,
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from the material they are using.
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So, this is a bit of the backdrop.
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In 2011, I came across a book, kind of independently.
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It was just recommended to me, for some reason, by Amazon:
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you know how that works.
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And the book was called 'Curation Nation'
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and there is, I think, a slide there perhaps somewhere, it's like the sixth slide.
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There's a -- if you want to pop that up.
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If not, it's just a picture of the book.
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But it's a book it's a book by Steven Rosembaum.
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>>Stevens: I will. Could I --
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I am supposed to be able to mute mikes, as the owner of the chat,
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but I am unable to mute Halima's for some reason
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and that is where the echo is coming from.
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So, Halima, could I ask if you could click on the "mute" on your mike when not speaking?
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And if you want to unmute, you can always speak to us.
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That is where our echo is coming from.
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And okay, I will do what Phil has asked me to do and pull up 'Curation Nation'.
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>> Hubbard: laughs Alright, thanks.
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Anyway, this is not a book about education by any stretch,
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but it did come up with this notion that we have so much material on-line now
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and we are having so much difficulty in sorting out
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what the good stuff is from the chaff, for any reason, for news and so on.
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Now we have all these feeds:
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You know, if you -- those of you on Twitter or any of the other networks that have lots of feeds,
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you get the -- even Google+ -- you get feeds from your friends,
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you get feeds from people that whoever runs the site thinks might be interesting to you
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and you are just overwhelmed with an enormous amount of material.
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Some of it's pretty cool.
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Much of it is stuff you wouldn't find on your own and that's great.
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But when you've got the specific target of trying to improve your language
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-- and of course, the group that I work with doesn't actually do a whole lot with social media
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because they don't have time as full-time graduate students --
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I am lucky if I can squeeze a few hours out of them to do the work
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that they need for the course that they are taking for credit from me.
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So, this notion of curation is based roughly
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on the idea of what people do in museums and in art galleries.
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You get an expert, somebody who actually knows a fair amount about a particular area
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and you have that expert create collections, add value to them in one way or another,
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and then you release those collections for the consumer - whoever it might be --
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to have a look at and to interact with.
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So, the key difference between this and what a lot of people are doing with this material
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-- you may have heard concepts like "digital curation",
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which can just mean curating digital materials
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but often means that computers are doing the job for you.
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Google news is a really good example of that:
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I find a lot of interesting stuff in there, I can even ask it to find particular categories,
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but it's still being selected without any human intervention.
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You compare that with something like Huffington Post,
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which is material that's been brought in by people who are
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-- in some cases, they're producing it, but in other cases they are aggregating it
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and trying to make sense out of it for the rest of us.
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So, a key point here is that curation isn't the same as aggregation, or listing, or tagging.
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It's okay to use that term for that but that's not the way I am using it.
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There is a really nice quote in my slide there that -- I think it's maybe --
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two more slides down, Vance. One more. There you go. Past curation.. yeah, that one.
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So this is - it's maybe a little mean, but I think it's right on point
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that when you just get collections of things, you've just got collections of things
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and its not necessarily anything other than "these are things that I liked"
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or "these are things that I think you will like".
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So, I prefer the next slide: you want to go to it, Vance?
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This is more the way I see curation,
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where you collect material, you organize it,
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there is even the potentially a path, well, there is certainly a path
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through the individual material groups,
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and then mayble even a path through the groups,
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although at the moment I haven't done that last point.
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So, this is, you know, kind of captures the idea that I want to talk about today.
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Curation, importantly, is not the same as creation or recreation
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or adaptation or sampling, or synthesizing.
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It's taking the material and adding something to it, maybe just a commentary,
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maybe just collecting it into some logical framework or logical sequence.
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So, when I took that idea, which I was getting through the Curation Nation book,
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and thought about it with respect to the material that I was using,
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I decided to experiment with that and come up
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with some collections of materials from -- as you probably know from the title here and also the PDF,
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if you've had a look at it -- comes from TED Talks.
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And in a moment I will talk about why I think TED talks is so good for that
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but at the base level, these were very popular with my students.
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What the students were doing more--
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they were having trouble coming up with good ones.
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They would always pick what was interesting
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and then often come back to me and say
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"Well, this was interesting, but I had trouble understanding it because my --
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the accent of the speaker was not easy for me to understand."
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or "I had trouble understanding it because -- it was interesting
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because I didn't know anything about it and I didn't have the background
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so there was a whole bunch of new vocabulary."
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So t could be interesting for all sorts of reasons,
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but it wasn't interesting for the right reasons,
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for what we think is good for independent language learning.
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Again, this doesn't mean that all of those collections, with the help of a teacher,
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couldn't have been very valuable in a classroom
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and especially getting to the content for connecting to discussions.
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But that's not the same thing as letting students work on their own.
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So, I do want to emphasis that.
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My perspective here, at least initially,
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is getting students to be able to do these things outside of class
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and then just come back and report on them
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rather than having something we do in class
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or that everybody does the same homework assignment on.
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Alright, so that's the set-up for what I believe curation should be,
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or at least can be, within this framework.
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So, I think what I'll do here is pause for a second and see if anybody has questions.
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and bring it up by trying to look at some of the chat pieces here
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Uh -- [he hums]
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[reading:] "What is meant by sign..."
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OK, so some of these chats are to each other about the chats.
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So I got to go to the other window
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Uh -- anybody -- anybody have any questions here?
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If not, I'll continue on.
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>> Stevens: I have to admit I have trouble following all the chats.
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There's also a back channel here, with Google: some people could be in that one.
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I never see that one until I get off of --
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>> Hubbard: Well, the last chat -- the last piece on the group chat said:
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"Yeah, we agree with you, Phil."
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So: that's great.
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I'll stop [check] there and if everybody agrees with me, I don't really need to --
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>> Stevens: you need go no further
>> Hubbard: [overlapping, inaudible]
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No [Hubbard and Stevens laugh]
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>> Hubbard: OK, well, so, again, that's kind of the background,
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this idea that I needed to start collecting things.
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So, I'm still kind of almost two years in the past, now,
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telling you the story of how I got to where I got here.
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So I picked TED talks and I started going into TED talks.
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I wasn't quite sure how I wanted to collect them
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but I knew there were some of the ones that I liked
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and I also knew some characteristics that I thought were useful for the students.
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I thought it was important to collect them into themes.
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You know, we've known for a long time that if you have related content,
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that it kind of feeds -- the materials feed one another
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and the students get probably a better and a richer experience,
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they get more natural repetition and key vocabulary
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than if you have people just kind of jumping out piecemeal
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with unconnected bits of material.
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I -- in the 1980's I was forced to teach a course with a book I don't remember the name of that.
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I do remember the author, but I'm not going to mention it on air.
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It was a reading textbook and the reading textbook had really interesting little chapters,
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at least most of them were interesting to me,
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but, you know, one chapter would be on the Olympics
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and the next chapter would be on sea-horses.
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And it's that kind of jumping around -- we typically don't do that with textbooks anymore.
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And yet when we turn students loose, a lot of times, that's what they decide to do.
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So again, even though I had been giving them guidance, saying:
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"Well, collect several bits of, you know, pieces of material, videos or podcasts
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that are related to one another in some way,"
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they wouldn't follow that advice, because it hadn't been done for them.
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They were still kind of chasing around, looking for the spots that just seemed interesting.
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OK. I think what I'll do is tell you what the
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-- at a kind of the abstract level, what I came up with
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about what the curator's role should be.
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And again, this is specifically for this target audience,
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but I think it can be tweaked and extended to other ones.
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The first thing you have to do is collect the stuff: you want digital materials,
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you want to organize them in some way:
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mine are organized systematically, but you could do
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-- you know, you could take news stories and do them chronologically.
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You need to sequence them and this is where a lot of collections fall short.
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They're just -- they're either randomly sequenced
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or they're not sequenced at all.
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And I think it is possible, as, you know, as the resident [check] expert, the teacher,
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to be able to say:
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"Here's a way to move so that the earlier ones might be a little bit easier to follow
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and the later ones are better understood if you've done the earlier ones."
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The fourth point there that
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-- on the slide that Vance has --
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is the hardest part of all of this,
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and that is trying to get this material levelled in some way.
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Wilfried Decoo in 2010 wrote a book, it's at the end
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-- the reference is at the end of the slideshow here --
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on systemization.
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And it was kind of a return to the idea that
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even if you're using authentic material,
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and especially if you're trying to create course material yourself,
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that you need to have a kind of natural development of that material
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from, you know, easier at lower levels, to harder
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and he went to the point of even talking about keeping databases
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that were very finely tuned,
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so you would be able to pull out lexical items and grammatical points and so on
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in a scope and sequence that fit
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what we thought we knew about language learning.
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And you know his -- I think his perspective is
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what I think is a reasonable one to bring up again,
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because I think we are often not cognizant of the difference between
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accessible and barely accessible and inaccessible materials,
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especially now that students can go in and, you know,
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get their first-language subtitles and transcripts for a lot of these materials
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and then have the illusion that they are actually understanding the English, in this case,
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and that they're building their English proficiency, where they --
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-- they may be to some extent, but probably not to the extent that they think they are.
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So there is the, you know, that idea of --
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well, in Decoo's book of fine tuning material.
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That doesn't work for me because at the levels I have,
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first of all, I have mixed-level classes to some degree,
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although they are all fairly advanced.
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They come from different backgrounds, I don't know what they know going in.
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So it's a little tricky to do it in the way that he likes.
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But it still gave me the impetus to try and see if I could come up with something,
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you know, I'll show you that in a bit.
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So, the last part of that, then, once you can give at least some kind of level information,
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is to go ahead and then present your pedagogical support,
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whatever it might be.
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This is fairly open-ended, I mean teachers can get -- and often do get -- into material
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and they start stripping out what they think are key vocabulary,
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they produce, you know, pre-listening activities,
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they have post-listening activities,
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they have discussion activities.
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All these are great, but they're based kind of on a classroom model
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and even more important: they take a lot of time away
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from the job of collecting this material.
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So if you put the hours into making full lessons,
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you end up not having the time to even produce as much as I have,
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which, as I mentioned, is not as much as I'd like.
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OK, so that's the curator's role and then -- Vance, if you could go to the next slide.
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Did we lose you?
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>> Museum curator MC [check]: Hi Phil, I just wanted to add to something you--
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>> Hubbard: Yes, go ahead
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>> MC: Just because of my background:
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I used to work in museums
>> Hubbard: Oh, fantastic
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>> MC: in education and curation
>> Hubbard: A real curator!
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>> MC: Yeah. Just one other item I would add to the list
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and I made a note of it in the chat section
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and that's the -- often without knowing it we're making assumptions about our audience.
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>> Hubbard: Ah!
>> MC: When we're selecting things,
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whether they be objects for display or -- like in the museums -- or
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objects for presentations to students, we're often unknowingly making assumptions
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and I think it's a really important thing to know, to challenge ourselves
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about the assumptions we're making in making those selections, those choices, as experts.
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>> Hubbard: Yeah, I mean that's a very good point
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and I have to -- as individuals, the students always change in my classes.
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As a group, you know, I get to know the group better.
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So I think, in this very targeted group, I can --
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I can come up with at least, initially, some likely ones,
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but I do in fact ask them for feedback on --
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Well, first of all, I give them choices and then I ask them for feedback
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both on, you know, what they chose and why, of the ones I selected for them,
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and also what else they might like to see.
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So it becomes a little bit od a dialog,
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and that could be even more of a dialog, you know, if you have --
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the way my class is structured, again, because it's so small,
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we do a lot both within class discussion and with the individual tutorials.
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But if you got a larger class and you got a discussion board or a wiki or something like that
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where, you know, students can -- can chime in more regularly,
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then you could get some information.
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I also haven't formally surveyed them, so that would be useful too. I --
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>> MC: You're inviting their feedback to inform --
>> Hubbard: Very much so. Yeah.
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>> MC: Yeah --
>> Hubbard: But not as richly as I could.
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So one idea I had was that, you know, like you've seen probably in museums,
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sometimes they have the displays but they'll also have, you know,
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places where people can, you know, write cards
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and make suggestions and say things and drop those off
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and I think, probably increasingly, we'll see museum displays
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where the, you know, the viewers' thoughts are right up there and accessible to other viewers
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when they go to look at the material.
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So I think you're making a really good point and, you know, this is the --
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figuring out exactly the role of the students who are still kind of developing,
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you want to meet them half way but you also, in the curation model, I think,
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want to be careful about the difference between curation and crowdsourcing,
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because I've had students come up with some materials
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that they thought were really exciting,
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but when I looked at it, I could see what the problems were in terms of the --
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the use of it by other students.
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>> MC: Now I take your point: it's you acting as the filter.
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>> MC: and finding --
>> Hubbard: Yeah, and that's --
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and again that's -- and again that's the -- this is the kind of, to me, this the curation model.
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>> MC: Yeah
>> Hubbard: The crowdsourcing model
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is a great model too, it's just a different model
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and it may work better in some cases.
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Of course it also depends on, you know,
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I've been to museums that I didn't think were very well run, were very well organized
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or were confusing.
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So --
>> MC: Yeah.
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>> Hubbard: as soon as you have the human expert coming in,
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they may not be as much of an expert as they think they are.
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That's probably true of me, in fact.
>> MC: Yeah, and there are lots of people [check]
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a lot of examples of museums, because I'm into curating things
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and then I'm finding out that the interpretations that they were expecting audiences to have
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were completely off-base.
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>> Hubbard: Yeah.
>> MC: I think that's a good example
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of big money going into these exhibitions and then being interpreted in a completely unexpected --
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>> Hubbard: Yeah, well, the good news here is, I have no big money.
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I mostly have no money at all for this. So -- [he laughs]
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It's also, the nice thing is, you know, compared to the museum,
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where you have all of these Unkosten [? check] to putting the material in,
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once you have something, you start a web page:
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if it is a disaster, or if it needs to be tweaked or significantly changed,
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it's possible to do that just by finding a little bit of time.
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[MC and Hubbard overlap]
>> MC It's just [missed words check]
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There's even an opportunity, actually, in, as an expert,
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putting together a series of well-chosen articles
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and then inviting students to assemble them and put them into a -- into an order or sequence,
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and to try and explain the rationale that they've used,
395
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what connections they've seen in the works.
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It's just another angle to it I sure would --
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>> Hubbard: No, it's a very good angle and in fact, you know,
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as I've moved through stages in probably about 15 years of teaching this course,
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I've tried to give students more independence but also to give them guidance in that independence
400
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and one of the -- what I hope I'm doing with the material I have,
401
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I do show them how I put it together.
402
00:29:30,667 --> 00:29:34,766
And I hope I'm, you know, kind of modeling curation for them as well.
403
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The idea of getting them to maybe do a little curated piece of their own,
404
00:29:42,771 --> 00:29:45,914
that could be an interesting final project for the course.
405
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I will be revisiting it again in Spring.
406
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I'll be away from it in Winter quarter here
407
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because we have -- we teach 10-week quarters.
408
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But that's a possibility for Spring, actually.
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It could also greatly enrich the collection of material that's available to other students.
410
00:30:04,231 --> 00:30:08,111
Again, as long as I'm there to be a kind of a filter,
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rather than just releasing these into the wild.
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Or if I do release them, you know, making sure that students know the difference
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between ones that are student-produced and the once that I produced
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and why, you know, I did mine one way.
415
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Then they can -- they can judge to some extent, you know,
416
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whether they think the rationale used by their peers, you know, was useful for them.
417
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So, that's a nice idea, I'm making a note of that.
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OK, shall I move on?
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>> [Stevens? check] Yeah. I'm aware of a podcast - there's the slide on I'm talking --
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>> Hubbard: Yeah, thanks
[they laugh]
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>> Stevens (?): I listened to a podcast where some educators had gone to Europe,
422
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probably on a junket but ostensibly
[Hubbard laughs]
423
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>> Stevens: to visit museums and find out, you know,
424
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especially ones that had audience attract--
425
00:31:05,349 --> 00:31:09,204
you know, the idea was that museums, people didn't have to go there,
426
00:31:09,204 --> 00:31:10,380
they have to attract people.
427
00:31:10,380 --> 00:31:13,986
So what do they do to attract the people, as opposed to schools?
428
00:31:13,986 --> 00:31:17,841
And then, how can we design our classroom environment
429
00:31:17,841 --> 00:31:19,294
so it's more like a museum?
430
00:31:19,294 --> 00:31:23,631
So that was actually a serious project and I'll never remember --
431
00:31:23,631 --> 00:31:30,044
I'll never forget how to get it back, but maybe I will tell you in Portmont [check].
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>> Hubbard: Ah OK? So that was good.
433
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Yeah, so Vance has put up the slide that I wanted to make a point of here,
434
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because there are a couple of things that are important about this slide, I think.
435
00:31:42,563 --> 00:31:45,804
The first is, even though these are just little bullet points,
436
00:31:45,804 --> 00:31:51,668
that actually took me a while to kind of figure this out, maybe because I'm slow, but --
437
00:31:52,298 --> 00:31:54,842
Oop, Vance, I lost the slide.
>> Stevens: it is here again? >> Hubbard: thanks.
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Because of all the other distractions I have
439
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and because of other elements of where I am and what the -- sort of the visibility,
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the first thing I have to make sure is that anything that I curate is actually legally available.
441
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And a certain amount of stuff that I had used years before, even in my own class,
442
00:32:27,238 --> 00:32:32,877
I wasn't quite so sure about what the legality was, I think, in the early days of the internet.
443
00:32:33,861 --> 00:32:38,880
Even now with YouTube I try to be careful about making sure that
444
00:32:38,880 --> 00:32:43,133
what I've found is something that whoever put it up either has the right to
445
00:32:43,133 --> 00:32:45,597
or they're reposting something that is --
446
00:32:45,597 --> 00:32:50,785
that's already got a Creative Commons license or something like that.
447
00:32:51,166 --> 00:32:55,123
So, especially for something I'm going to put some time into here,
448
00:32:55,123 --> 00:32:59,430
I want to make sure that what I've got is something I can use.
449
00:32:59,430 --> 00:33:01,621
I also always want to make it freely available
450
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because my students have friends back in their home countries
451
00:33:05,464 --> 00:33:10,798
and they have even colleagues here who don't end up taking my class
452
00:33:11,644 --> 00:33:17,455
and I have colleagues that are interested in using some of the material I do,
453
00:33:17,455 --> 00:33:23,949
so everything I do in this kind of a project, I try to make sure it's freely available on the Web.
454
00:33:24,769 --> 00:33:29,036
Vance, we lost the slide again, or at least I did.
[incomprehensible metallic voice - check]
455
00:33:29,036 --> 00:33:32,712
>> Hubbard: Oh wait, is this Halima saying something? Uh, you know--
456
00:33:32,712 --> 00:33:37,752
>> Stevens: No, Halima is unmuting herself as soon as she comes into the chat.
457
00:33:37,752 --> 00:33:41,633
So I'm going to have to -- Halima, can you mute your microphone?
458
00:33:42,571 --> 00:33:44,194
Because it's causing feedback.
459
00:33:45,009 --> 00:33:50,652
And I hope you can figure that out, and meanwhile we put this back.
460
00:33:50,667 --> 00:33:54,120
Is it back yet [missed words check] Phil?
>> Hubbard: Yeah, that's great. >> Vance: OK
461
00:33:55,012 --> 00:33:59,666
>> Hubbard: Yeah, so the "freely and legally available" is an important quality
462
00:33:59,666 --> 00:34:03,582
and you know, TED talks obviously are ideal for that.
463
00:34:04,458 --> 00:34:06,373
They're likely to be interesting.
464
00:34:06,373 --> 00:34:09,829
Again that's something -- oops, lost the slide again,
465
00:34:10,705 --> 00:34:12,604
but I'll just go ahead and walk through these.
466
00:34:13,050 --> 00:34:19,808
"Likely to be interesting", I guess that connects to a previous commentary [laughs]
467
00:34:19,808 --> 00:34:22,506
that we don't always know what students think are interesting,
468
00:34:23,429 --> 00:34:25,675
but I try to pick things that I think are,
469
00:34:25,675 --> 00:34:29,839
you know, have a good chance of being interesting for the students.
470
00:34:31,639 --> 00:34:37,032
The good technical quality: there is a lot of stuff, obviously,
471
00:34:37,032 --> 00:34:44,375
available on the Web that's not, that's interesting and freely and legally available,
472
00:34:45,328 --> 00:34:51,656
but the technical quality is such that it may be less ideal for language learning.
473
00:34:53,254 --> 00:34:57,517
We're getting better at that now, certainly, than in the old days,
474
00:34:57,517 --> 00:35:04,043
but when - when you're looking for material, if it's been overly compressed,
475
00:35:04,043 --> 00:35:07,392
or it was done with devices that weren't that good in the first place,
476
00:35:08,607 --> 00:35:13,418
it doesn't necessarily lend itself as well for language learning.
477
00:35:13,956 --> 00:35:18,189
Stability is a really important point, because I don't want to do this
478
00:35:18,804 --> 00:35:24,400
and then find out what I did is not available the next time I teach the class,
479
00:35:24,400 --> 00:35:26,253
or even the next week.
480
00:35:26,729 --> 00:35:32,188
So again, finding material that has -- either has been up for a while
481
00:35:32,188 --> 00:35:35,562
or that you know is going to continue to be up for a while.
482
00:35:36,522 --> 00:35:41,262
The 5th one is a -- you know, people have different views of this,
483
00:35:41,262 --> 00:35:47,670
but because I'm so tied in with vocabulary development along with comprehension,
484
00:35:48,546 --> 00:35:55,584
to me it's critical to have captions at least -- [coughs] excuse me, losing my voice here --
485
00:35:58,333 --> 00:36:03,074
to have captions at least and ideally, to have transcripts.
486
00:36:03,074 --> 00:36:08,933
And one of the reasons for transcripts is to be able to try to use some material
487
00:36:09,609 --> 00:36:12,837
which I'll show you in a moment here some of you are probably familiar with:
488
00:36:12,837 --> 00:36:16,182
the vocabulary profile from lextutor.
489
00:36:16,766 --> 00:36:22,106
By using -- by dumping the transcript into that, you can get an idea of levelling.
490
00:36:23,749 --> 00:36:25,525
And if you don't have a transcript,
491
00:36:25,525 --> 00:36:29,821
then you have to kind of use just intuitive feels for what's the level.
492
00:36:29,821 --> 00:36:34,194
Then I've personally seen some pretty significant problems with that.
493
00:36:35,058 --> 00:36:37,755
I may mention one towards the end here
494
00:36:37,755 --> 00:36:42,397
when I get to some of the alternative sites I know that already exist for this.
495
00:36:43,182 --> 00:36:45,411
And then ideally, if you can find complem --
496
00:36:45,411 --> 00:36:47,341
something that has complementary materials.
497
00:36:47,694 --> 00:36:51,930
Again, in the case of TED talks, you've got materials that are --
498
00:36:52,837 --> 00:36:59,487
you have a brief summary of whatever the talk is, right there available,
499
00:36:59,487 --> 00:37:02,246
you don't have to create it as the curator,
500
00:37:02,246 --> 00:37:06,463
you've got the bio of the speaker, which is good background information,
501
00:37:06,939 --> 00:37:11,979
and in some cases you even have -- I think, what do they call it, TED Ed or something --
502
00:37:11,979 --> 00:37:17,160
there are some TED talks that even have some additional material that --
503
00:37:17,160 --> 00:37:22,277
that people have added to them, in the way of discussion questions and things like that.
504
00:37:23,015 --> 00:37:28,138
TED's not as rich as, say, you know, if you're doing a newscast for example,
505
00:37:28,138 --> 00:37:34,395
and you might have several written forms of the same news story
506
00:37:34,395 --> 00:37:35,910
that you can use for back up:
507
00:37:35,910 --> 00:37:37,363
it's not quite as rich as that,
508
00:37:37,363 --> 00:37:44,202
but it's still pretty good with giving you some of these complementary materials, besides the video itself.
509
00:37:46,786 --> 00:37:50,293
OK. You want to move on to the next --
510
00:37:51,984 --> 00:37:54,729
>> Hubbard: Actually, it's probably the next couple of slides
>> Stevens: Yeah.
511
00:37:54,729 --> 00:37:56,136
>> Hubbard: does someone have a question?
512
00:37:56,689 --> 00:38:04,026
>> Stevens [check]: Yes, Peggy George has asked questions in the text chat, the Etherpad one.
513
00:38:04,795 --> 00:38:06,710
Let's see, I can -- she asks:
514
00:38:06,710 --> 00:38:10,976
"Are your students able to share your curated content with others outside the course?"
515
00:38:10,976 --> 00:38:15,266
>> Hubbard: Yes. Yes, som you'll see the --
516
00:38:15,266 --> 00:38:20,397
in fact I think it comes up here on the next slide or couple of slides.
517
00:38:20,397 --> 00:38:25,352
Actually the next slide, if you go to the next slide, let me talk briefly about that,
518
00:38:25,352 --> 00:38:30,531
because it does have to do with the sharing.
>> Stevens: Mmm - OK
519
00:38:30,924 --> 00:38:36,351
>> Hubbard: So that the link there is to the advanced listening website
520
00:38:36,351 --> 00:38:39,045
and you'll see, you know, quite a bit of material there,
521
00:38:39,045 --> 00:38:40,506
not just the TED talks.
522
00:38:41,223 --> 00:38:45,365
The link - the specific link to the curated TED talks is a couple of slides from here
523
00:38:45,365 --> 00:38:52,346
but those are -- those themselves are legally and freely available.
524
00:38:52,346 --> 00:38:55,430
They're my websites, they are on the Stanford server:
525
00:38:55,430 --> 00:39:01,159
Stanford is not going away any time soon, as far as I know I'm not going away any time soon.
526
00:39:01,635 --> 00:39:06,380
So those are not only, you know, available on the World Wide Web,
527
00:39:06,380 --> 00:39:11,226
unless you happen to be from a country that is for some reason blocking access to Stanford:
528
00:39:11,702 --> 00:39:14,114
that has happened a few times in the past.
529
00:39:16,201 --> 00:39:19,125
But if not, then you can get to that material
530
00:39:19,125 --> 00:39:23,420
and all it does is jump out to the TED talks themselves
531
00:39:23,420 --> 00:39:26,641
and the TED talks again are, you know, freely available.
532
00:39:27,317 --> 00:39:31,073
I noticed in one of the preliminary discussions
533
00:39:31,073 --> 00:39:38,663
that somebody had put in some comments, before this began, on the learning2gether site,
534
00:39:38,663 --> 00:39:45,799
and mentioned YouTube videos, and YouTube videos are certainly a great resource,
535
00:39:46,460 --> 00:39:52,745
most of my students are from China and most of them, then, unless things have changed,
536
00:39:53,130 --> 00:39:57,879
can't freely and legally get the YouTube videos there.
537
00:39:58,491 --> 00:40:03,737
And so for that reason I try to -- I don't avoid YouTube
538
00:40:03,737 --> 00:40:07,812
but I try to limit it and I like to make the curated collections
539
00:40:07,812 --> 00:40:14,174
something that my students will be able to use and their friends will be able to use.
540
00:40:17,771 --> 00:40:19,946
OK. Any other questions?
541
00:40:21,019 --> 00:40:26,865
Uh, so, yeah, so they are available and when I -- just so you know --
542
00:40:26,880 --> 00:40:35,245
when I redo the course every quarter, that URL there stays the same, the material is new.
543
00:40:35,829 --> 00:40:38,552
Well, most of it is old actually, but I do update it
544
00:40:38,552 --> 00:40:41,418
sometimes because I come up with other ideas
545
00:40:41,418 --> 00:40:45,627
and sometimes because some of my other class material disappears.
546
00:40:47,119 --> 00:40:52,874
But the home page of that each quarter has the link to the previous quarter's materials,
547
00:40:52,874 --> 00:40:58,528
so you can actually step back from quarter to quarter and go back.
548
00:40:58,528 --> 00:41:04,268
I never throw anything away on the Web, so it's probably got stuff from 5 years ago
549
00:41:04,268 --> 00:41:09,394
if you keep clicking back through the previous quarters' material.
550
00:41:09,978 --> 00:41:16,009
So you can see what it was like in the past ["without"? check] sort of my own Internet Archive.
551
00:41:18,248 --> 00:41:24,538
OK. The way that I did this material, let me move on to the --
552
00:41:25,760 --> 00:41:27,536
Well, I guess on this slide,
553
00:41:28,243 --> 00:41:35,087
the problems that my students have, typically, fall into issues with speech rate:
554
00:41:35,579 --> 00:41:38,483
some of the TED talks are too fast.
555
00:41:38,483 --> 00:41:43,486
It doesn't mean they can't, you know, use top-down skills to understand the basic content,
556
00:41:43,486 --> 00:41:46,852
but that's not necessarily going to help them drive their --
557
00:41:46,852 --> 00:41:54,129
either their listening proficiency, you know, their ability to process English, automatize it,
558
00:41:54,129 --> 00:42:00,709
or their ability to pick out the vocabulary that they don't understand or --
559
00:42:00,709 --> 00:42:05,666
even more interesting is the vocabulary they sort of understand or partially understand,
560
00:42:05,666 --> 00:42:11,833
but they just can't get to it, they can't access it in the time with a faster speaker.
561
00:42:11,833 --> 00:42:16,700
And there are others in my class, actually, that do OK with some of the faster speakers,
562
00:42:16,700 --> 00:42:20,215
but just having knowledge of the speech rate is useful.
563
00:42:21,552 --> 00:42:28,016
Preliminary knowledge of the accent: just a -- since in some cases we have students
564
00:42:28,016 --> 00:42:33,663
that are having particular difficulties with particular accents, often of their professors,
565
00:42:34,647 --> 00:42:39,950
and they may actually be doing a project where they're trying to focus on that accent.
566
00:42:40,690 --> 00:42:45,640
And so in that case, knowing more about the accent is helpful.
567
00:42:45,640 --> 00:42:50,886
And others are really trying to -- I wouldn't say "master",
568
00:42:50,886 --> 00:42:59,161
but at least becoming -- become more proficient with the North American accent
569
00:42:59,161 --> 00:43:04,149
because they plan on not only doing their graduate work here, but staying a few years afterwards.
570
00:43:04,149 --> 00:43:10,060
It's a very common professional track for our students whether at the Master's or the Ph.D. level, to --
571
00:43:11,981 --> 00:43:15,330
because so many of them are in technology, they want to hang around Silicon Valley
572
00:43:15,330 --> 00:43:18,683
as much as the can after they, after the graduate.
573
00:43:20,223 --> 00:43:23,411
OK. If you could go to the next slide, Vance?
574
00:43:26,865 --> 00:43:30,330
>> Stevens: OK I might
[both overlap]
575
00:43:30,330 --> 00:43:35,744
>> Stevens: You mentioned Claude Almansi's contribution to the wiki earlier
576
00:43:35,744 --> 00:43:45,113
and one thing that she said -- she left this on the Google+ page as well:
577
00:43:45,113 --> 00:43:50,068
I post this to several pages.
Let me just get rid of that slide for a second.
578
00:43:50,068 --> 00:43:53,922
I see I can do that by clicking off the screen share for a second, OK?
579
00:43:53,922 --> 00:43:58,394
Well, anyway. She does work in closed captioning,
580
00:43:58,394 --> 00:44:01,842
she does a lot of very interesting work relating to MOOCs [check] where she is.
581
00:44:01,842 --> 00:44:08,343
And one of the suggestions she made -- I didn't know this, but maybe you did already,
582
00:44:08,343 --> 00:44:16,991
but you can -- she said you can, if you get the MP4, if you get an MP4 of a YouTube video,
583
00:44:16,991 --> 00:44:20,436
you can then load it into Audacity -- I didn't know that --
584
00:44:20,436 --> 00:44:29,521
and then you can adjust the rate of speech there, without causing any chipmunk effects.
585
00:44:30,182 --> 00:44:31,928
>> Hubbard: Mmm.
>> Stevens: I thought that was kind of neat.
586
00:44:31,928 --> 00:44:34,138
Sounds like useful information?
587
00:44:34,859 --> 00:44:45,063
>> Hubbard: Yeah, that's -- again, there are lots of things you can do to go more deeply into this stuff.
588
00:44:45,601 --> 00:44:52,019
I -- one of the things I do with TED talks is, you can also download TED talks and you can --
589
00:44:52,711 --> 00:44:58,337
even if you put them into something, well I use the VLC player,
590
00:44:58,337 --> 00:45:03,383
because the speech rate slider is right on the top,
591
00:45:03,383 --> 00:45:08,938
it's much easier to get at than it is in QuickTime or in Windows Media Player.
592
00:45:08,938 --> 00:45:12,050
I like the VLC player for other reasons, in fact.
593
00:45:12,495 --> 00:45:20,027
But, you know, once you have downloaded you can use the VLC player to --
594
00:45:21,532 --> 00:45:24,048
for the most part you don't really get the chipmunk effect
595
00:45:25,032 --> 00:45:29,930
because it's trying to expand the time domain without changing the frequencies,
596
00:45:29,930 --> 00:45:34,590
it's not like the old days with LP's and cassette tapes
597
00:45:34,590 --> 00:45:38,253
where time and frequency were connected to one another.
598
00:45:38,253 --> 00:45:41,161
Digitally, you can isolate those.
599
00:45:42,037 --> 00:45:47,079
What we found is that if you slow somebody down to about 80%,
600
00:45:47,079 --> 00:45:54,181
you can get a lot more processing time and it still sounds natural as long as you have good material.
601
00:45:55,011 --> 00:45:58,228
If you have material that's already been compressed too much,
602
00:45:58,228 --> 00:46:04,109
then those compression artefacts become stronger if you try to slow it down.
603
00:46:04,515 --> 00:46:08,955
Occasionally, we get people that my students want to speed up
604
00:46:08,955 --> 00:46:13,164
but most of the time, for language learning processes, we're talking about slowing it down.
605
00:46:14,040 --> 00:46:21,178
So it's -- using, changing speech rate, that's a whole different talk,
606
00:46:21,178 --> 00:46:31,456
but it's, I think, a very underused functionality and something that students sometimes baulk from
607
00:46:31,456 --> 00:46:41,000
but we have some research evidence that it's helpful when the students have control over it.
608
00:46:41,753 --> 00:46:44,627
Anyway, I don't want to diverge too much on that, but that's a --
609
00:46:44,627 --> 00:46:47,232
I do encourage everybody to read that post
610
00:46:47,232 --> 00:46:51,981
and see in more detail what some of the options are for doing that.
611
00:46:53,580 --> 00:47:00,362
In fact, one of the -- one of the problems with using the VLC player with those is,
612
00:47:00,362 --> 00:47:09,049
if you -- if you do try to slow down the speech rate by downloading it and putting it in the VLC player,
613
00:47:09,064 --> 00:47:12,298
you actually move the subtitles, because the subtitle feature --
614
00:47:13,159 --> 00:47:20,899
the captioning feature in the TED website is built into the website, it's not built into the video.
615
00:47:20,899 --> 00:47:26,627
And so you would need to do some additional captioning if you want to do that.
616
00:47:27,481 --> 00:47:34,506
My -- if your goal is general comprehension and you've got decent material,
617
00:47:35,044 --> 00:47:41,312
then I'm a fan of using the Google beta transcription.
618
00:47:43,695 --> 00:47:46,604
Even with good material, it makes a lot of mistakes
619
00:47:46,604 --> 00:47:50,136
and with material which, you know, isn't really, really clear,
620
00:47:50,136 --> 00:47:53,500
either because the speaker wasn't clear, or because the signal wasn't clear,
621
00:47:53,500 --> 00:47:54,853
it makes a lot more mistakes.
622
00:47:55,307 --> 00:47:59,597
And in my case, when I'm trying to have students use it for vocabulary development,
623
00:48:00,166 --> 00:48:05,289
if it's got -- if it picks the wrong word, then they're going to be learning something pretty weird.
624
00:48:05,289 --> 00:48:07,970
And it does that all the time.
625
00:48:08,624 --> 00:48:15,242
If you change that and, you know, get around to Google Translate, to get first-language captions,
626
00:48:15,242 --> 00:48:18,662
you just accentuate the error rate.
627
00:48:19,431 --> 00:48:22,725
So again, it really depends on what the goal is.
628
00:48:22,725 --> 00:48:29,445
If the goal is letting students watch a video for cultural and general content information,
629
00:48:29,983 --> 00:48:32,884
maybe to trigger classroom discussions, things like that,
630
00:48:32,884 --> 00:48:38,693
then using the automated captions is not a bad idea
631
00:48:38,693 --> 00:48:44,726
and being able to slow down is not necessarily -- is, well, I think a good idea.
632
00:48:46,620 --> 00:48:50,587
So again, it depends on what the goals are, but you have to be careful,
633
00:48:50,587 --> 00:48:54,117
because the Google beta, there is a reason why they keep calling it beta,
634
00:48:54,117 --> 00:48:57,572
it's because it's pretty error-prone.
635
00:48:58,418 --> 00:49:00,464
It's getting better but it's not there yet.
636
00:49:01,362 --> 00:49:04,721
And if students think it's an accurate rendition
637
00:49:04,721 --> 00:49:06,328
that's going to be even more difficult.
638
00:49:06,328 --> 00:49:12,756
If you do use the automated captions then the students need to be prepared for --
639
00:49:13,463 --> 00:49:16,414
you know, to be able to recognize when something doesn't make sense.
640
00:49:17,090 --> 00:49:19,737
It's usually -- it's a very obvious semantic issue
641
00:49:19,737 --> 00:49:21,506
with the words they pick.
642
00:49:24,072 --> 00:49:28,859
OK. One other thing, I don't remember if it was in that post or another one but
643
00:49:28,859 --> 00:49:36,097
something I hadn't noticed before someone mentioned that there is a slight delay
644
00:49:36,097 --> 00:49:39,881
in the synchronization of the captions in TED
645
00:49:40,296 --> 00:49:43,649
compared to the system that they were suggesting.
646
00:49:44,163 --> 00:49:48,985
So, uh, that's something else to take into account.
647
00:49:48,985 --> 00:49:54,082
You might, If that delay seems to be an issue for you or your students, then --
648
00:49:56,773 --> 00:50:00,845
it's something that I plan to explore because I hadn't noticed that before.
649
00:50:01,850 --> 00:50:05,785
Okay, a little bit about how I finally figured out to do this,
650
00:50:05,785 --> 00:50:09,164
which is not the way I would recommend doing it now necessarily
651
00:50:09,917 --> 00:50:17,277
But this is how I started working on this. When I did it I guess it was Spring of 2011.
652
00:50:18,184 --> 00:50:27,345
The first thing was to...oh no, it wasn't Spring: Fall of 2011.
653
00:50:27,773 --> 00:50:30,717
The first thing to do is to get the TED database.
654
00:50:30,717 --> 00:50:35,492
It turns out you can get an excel spreadsheet that has all of the Ted talks on it.
655
00:50:35,492 --> 00:50:39,395
If you go to their website you can see that there's a link for that.
656
00:50:40,176 --> 00:50:45,474
And the nice thing about that is that you can skim that a whole lot more easily
657
00:50:45,474 --> 00:50:47,624
than you can skim other material
658
00:50:47,624 --> 00:50:55,086
and you can also look, among other things, it tells you what the length of the talk is.
659
00:50:55,086 --> 00:51:04,124
And most Ted talks are around 18 minutes and most students attention focus ability is less.
660
00:51:06,981 --> 00:51:17,365
Um, okay, the database then, when I did it myself,
661
00:51:17,365 --> 00:51:19,865
it was smaller for one thing, at that point.
662
00:51:19,865 --> 00:51:24,829
But I did sort of skim it and looked for ideas, looked for themes
663
00:51:25,490 --> 00:51:27,343
and searched for keywords.
664
00:51:27,343 --> 00:51:30,100
So creativity was one of the first ones I did,
665
00:51:30,100 --> 00:51:34,022
so I was just able to search for anything that had creativity
666
00:51:34,022 --> 00:51:37,467
either in its description or in its title.
667
00:51:38,467 --> 00:51:43,295
I put together a list of candidates within that.
668
00:51:43,295 --> 00:51:48,094
I was looking for four or five talks to make a kind of a cluster,
669
00:51:48,094 --> 00:51:52,217
a sort of a virtual room in the museum if you will.
670
00:51:53,317 --> 00:52:01,441
And for each of those, I -- well, first of all, I did listen to the accent and got that. (52:01)
671
99:59:59,999 --> 99:59:59,999
I wanted to get at least a proxy for the speech speed
672
99:59:59,999 --> 99:59:59,999
and so -- the speech rate.
673
99:59:59,999 --> 99:59:59,999
So I just took the transcript, dumped it into Word
674
99:59:59,999 --> 99:59:59,999
so that I got a word count, divided that and came up with words per minute.
675
99:59:59,999 --> 99:59:59,999
I was actually quite surprised at the range that I could see there.
676
99:59:59,999 --> 99:59:59,999
If you go to the website for cre-- the link for "creativity"
677
99:59:59,999 --> 99:59:59,999
on my ted1 website of the curated talks there,
678
99:59:59,999 --> 99:59:59,999
the slowest speech rate is like 91 words a minute.
679
99:59:59,999 --> 99:59:59,999
Some of that is because there are pictures being shown in between
680
99:59:59,999 --> 99:59:59,999
but it still means you got a lot more time to process the language coming in
681
99:59:59,999 --> 99:59:59,999
than if you got somebody coming in at -- at a higher rate.
682
99:59:59,999 --> 99:59:59,999
Some of my students do a --
683
99:59:59,999 --> 99:59:59,999
there's a website at Stanford called "Entrepreneurship corner"
684
99:59:59,999 --> 99:59:59,999
and they have a lot of Silicon Valley types come in
685
99:59:59,999 --> 99:59:59,999
and give talks on campus.
686
99:59:59,999 --> 99:59:59,999
They also have transcripts and subtitles for that
687
99:59:59,999 --> 99:59:59,999
and one of the talks that I always have the students try
688
99:59:59,999 --> 99:59:59,999
is Marissa Mayer who, at the time she gave the talk, was a VP for Google
689
99:59:59,999 --> 99:59:59,999
but is now the CEO of Yahoo!.
690
99:59:59,999 --> 99:59:59,999
And she talks between 220 and 237 words a minute on the one I have,
691
99:59:59,999 --> 99:59:59,999
so I use her as an example of where you might try to use the speech rate shift
692
99:59:59,999 --> 99:59:59,999
and be able to use the slider to slow her down to 80%.
693
99:59:59,999 --> 99:59:59,999
OK. The next thing, once I have that rough speed --
694
99:59:59,999 --> 99:59:59,999
and again, it's just a rough speed, but it's better than not using technology
695
99:59:59,999 --> 99:59:59,999
and try just to use intuition about "This is too fast, this is too slow."
696
99:59:59,999 --> 99:59:59,999
The vocabulary profiler -- this is Tom Cobb's work of genius in my opinion.
697
99:59:59,999 --> 99:59:59,999
There are a lot of parts to that lextutor.ca site,
698
99:59:59,999 --> 99:59:59,999
but the one that I use for this purpose is the --
699
99:59:59,999 --> 99:59:59,999
well, at the time, was the British National Corpus profiler
700
99:59:59,999 --> 99:59:59,999
and there is the link to it there.
701
99:59:59,999 --> 99:59:59,999
Basically, you dump a text, a transcript into it
702
99:59:59,999 --> 99:59:59,999
and it gives you as output all the words divided into 1'000 verbal frequency bands,
703
99:59:59,999 --> 99:59:59,999
so, you know, which words are in the first thousand words of English,
704
99:59:59,999 --> 99:59:59,999
the second thousand words of English, and so on,
705
99:59:59,999 --> 99:59:59,999
all the way up to the 20'000 level.
706
99:59:59,999 --> 99:59:59,999
For my students, we try to focus more on the, you know, just doing a short --
707
99:59:59,999 --> 99:59:59,999
well, we -- I try to get them to focus more around the 5'000 level,
708
99:59:59,999 --> 99:59:59,999
so anything below that that they don't know,
709
99:59:59,999 --> 99:59:59,999
it means it's a word that they should learn.
710
99:59:59,999 --> 99:59:59,999
And when you go to my site, you can see how that's split up.
711
99:59:59,999 --> 99:59:59,999
I skim the transcript for unusual terms and idioms --
712
99:59:59,999 --> 99:59:59,999
Oh, I meant to mention: in the last few weeks,
713
99:59:59,999 --> 99:59:59,999
Tom has actually added the Coca, it's a contemporary corpus of American English
714
99:59:59,999 --> 99:59:59,999
and blended those in,
715
99:59:59,999 --> 99:59:59,999
so it now goes up to the 25'000 level.
716
99:59:59,999 --> 99:59:59,999
And it has much more American English in it now,
717
99:59:59,999 --> 99:59:59,999
rather than just the British.
718
99:59:59,999 --> 99:59:59,999
So, for those of you who like, you know, concordancing
719
99:59:59,999 --> 99:59:59,999
and corpus studying, study and so on,
720
99:59:59,999 --> 99:59:59,999
it's got a much richer layering out than it did when I was using it for this purpose.
721
99:59:59,999 --> 99:59:59,999
OK. So that's the process.
722
99:59:59,999 --> 99:59:59,999
Now I said, you know, I would do it a little bit differently, probably.
723
99:59:59,999 --> 99:59:59,999
It turns out that, since the time I began this and now,
724
99:59:59,999 --> 99:59:59,999
TED has come up with its own curated collections.
725
99:59:59,999 --> 99:59:59,999
And so, if you go to the TED website,
726
99:59:59,999 --> 99:59:59,999
you will see a link to something called "playlists"
727
99:59:59,999 --> 99:59:59,999
and these are collections of material that people have put together.
728
99:59:59,999 --> 99:59:59,999
In some cases, it's done by TED itself,
729
99:59:59,999 --> 99:59:59,999
you know, whoever is in the background working there,
730
99:59:59,999 --> 99:59:59,999
but they also have curated collections by Bill Gates and Bono
731
99:59:59,999 --> 99:59:59,999
and, you know, other famous folks,
732
99:59:59,999 --> 99:59:59,999
or in some cases, they're people who are less famous
733
99:59:59,999 --> 99:59:59,999
but, you know, are very well-known within their, you know, their more restricted field. (56:34)