Digital Signposts

Domesday Reloaded (Part 2)

Domesday System by ljw Licence CC  BY-NC-SA

Riding on the wave of excitement generated through BBC Domesday Reloaded project makes this a good time to take an objective look at some of the wider issues arising out of Domesday for learning technology, and if possible learn some lessons for the future.

“In 1986 the BBC launched an ambitious project to record a snapshot of everyday life across the UK for future generations. A million volunteers took part…”

This an interesting statement, because it was never realised through the original project format; but now may be with the release of the Reloaded project, and even more so if the data on the National Disc is finally released. Unless folk were associated with a school or had access at a library it is unlikely they would have had  hands-on experience of the Domesday system.

Many blogs and tweets suggest that Domesday Reloaded is a complete reconstruction of the original 1984-86 project, but that is quite far from the truth. It does not contain any of the rich data from the National Disc. The National Disc contains a great deal of, (authoritative), media and statistics. Just how much can be gauged in the first  section of this promotional video,  specifically from 03:15 > 9:32, on the timeline. It is clear that the Community disc data is culturally significant and  the National data disc completes that anecdotal snapshot of the UK picture with an even and focused coverage.

Neither is it true to suggest that the only reason for the loss of the Domesday data is obsolescent technology. Human shortcomings are just as much, if not more to blame. Although obsolescent technology may have contributed to the the loss of the Domesday system, it was not the only cause. This is evidenced by the fact that researchers based at Leeds University and the University of Michigan working on the Camileon Project were successful in accessing and emulating the BBC's Domesday project on a PC.

Although the systems were superseded by digital optical media, many of the surviving systems, (c.1000 sold), were just left in cupboards or as I heard through trusted anecdotal evidence - in one LEA (Local Education Authority), 2 were simply thrown in the skip when moving offices. Again the human factor... one wonders how many times this was replicated?

Evidence, from Charlesworth. University of Hull, (2002); suggests that the greatest obstacle was clearing Copyright. Nearly all the content, including both data and software has IP rights attached. It appears to be an extremely complex web of rights. Charlesworth’s report also indicates, even at the time of writing (2002),  some rights holders were untraceable and it could be 2090 before all data would be in the public domain.

Should ever such a venture be undertaken in the future (using public funds and contributions) it would make sense to ensure that content providers and contributors were asked to make their work available under a Creative Commons licence, or at least the BBC Creative Archive Licence.  Unfortunately this is not a requirement of the Reloaded initiative and there is no real licencing guidance for contributors other than the BBC’s normal T&Cs. (Even so, everyone should contribute because of the cultural significance of the project).  Similarly it would be hoped any future venture would be developed using Open Source software.

In addition to the  Domesday Reloaded will achieve is to generate awareness and of Domesday, (including the original Domesday Book, which is also online), judging by blog post and tweets this is already happening.  In order to fully appreciate the nature of the BBC Domesday Project it is worth reading this detailed description of Domesday and also the work of  Darlington, Finney and Pearce describing the recovery of the data on the discs. Sadly; Adrian Pearce died in 2008 and his original site is no longer available but the http://www.domesday1986.com/ URL now links to the Domesday Special Interest Group.

Update
There are indications from the Centre for Computing History that they are working with the National Disc and hoping to make it live in the near future. Great news if it happens.

 

If there are any factual errors in this post please let me know and I will amend as appropriate.

 

Jam runs out on Tuesday

I learn that the BBC Trust has bowed to pressure from the UK's "educational software industry, and 'suspended' the Jam digital learning service. Lewis Bronze; CEO, Espresso Education, is quoted in the Register;

"The opportunity provided by broadband technology should allow a torrent of educational content to flow - instead, the BBC's current proposals will give us a desert. The BBC's current proposals for their free to air digital curriculum will massively curtail the choice available for schools. Using £170 million of the public's licence fees destroys a competitive market, deprives children and teachers of choice
and diversity, and kills off the UK educational software industry."

My view has always been that Jam is/was a good attempt to make personalised, learning centered resources, freely available for independent use at home and school. Ian Usher E-Learning Co-ordinator, Buckinghamshire County Council gets straight to the point;

"I'd say that BESA has inadvertently kicked the learner in the teeth here. It would have been great to put things in the hands of learners (as part of our ePortfolio developments) which let them control their learning,"

Perhaps we should ask Mr Bronze, if he is at all concerned about the implications for pupils and teachers, of the statement posted on the the Jam site, (below). I wonder how he feels about people who 'delete/lose my work'?

The argument put forward by Lewis Bronze and BESA (British Educational Suppliers Association) is of course, choice.  Choice, as we all know from the school places debacle, can mean many things to many people.

Perhaps, as a result of this, schools will begin to realise they have other (and possibly better) choices available. These include; the choice to use  free online, creative, social and collaborative tools, the choice to use open source software including learning platforms. Schools also have the choice to access the wealth of digital assets available under a Creative Commons license. I suspect you won't find  much CC licensed 'content'  in the offerings from BESA members.

In contrast the UK " education software industry" is happy to accept revenue from the public purse in the guise of eLCs (eLearning Credits), for software apparently not always wanted or needed by schools. Thanks to Ian Delaney for this link.

It is probably far to early to predict how all this will turn out, but with a bit of luck those who brought about the suspension of Jam may have shot themselves in the foot.

BBC looks down the Tube

At first glance the BBC's link up with YouTube would appear to be another positive move. However having looked at their contribution; 32 clips, (which include a 5 second video of their Logo), there seems to be very little of of real substance or value. In fact what we have is nothing more than a series of promotional clips and some behind the scenes chit chat with various personalities; talented as they might be.

A quote from Ashley Highfield, the BBC's new media chief on the Register clarifies the BBC position;

(it is) "not about distributing content like full-length programmes; YouTube is a promotional vehicle for us".

and it gets worse;

The problem is, the complexities of adhering to the corporation's charter using a global medium are already making a monkey out of director general Mark Thompson's goal to have BBC content available "anytime, anywhere".

Two thirds of the promo content won't be available to UK users - because the BBC isn't permitted to show advertisements in the UK. Meanwhile, much of the BBC's digital content can't be viewed outside the UK.

This is all a far cry from the bold venture that was the  Creative Archive, where the BBC provided something something of real value. It appears the BBC is freeloading at the Web 2.0 party without giving anything back in return. Again quoting the Register;

Executives also said the deal was "a testing ground" for the BBC's own iPlayer

I am not sure how the Flash based content on YouTube relates to the BBC's intention to make their, (DRM laden), content available on on Windows XP and Vista only. Perhaps it is the BBC's way of distracting attention from the real issues, regarding their proposed provision of digital content.  Whichever way you look at it ...quite frankly, this deal leaves a bad tase.

Help save the BBC...

Image credit, Eyedropper  CC

...from, Microsoft and itself?  I am pleased to be able to pass on this warning, received via Euan Semple.  Are you happy with the following?

"The BBC Executive proposes a digital rights management solution which would require consumers to be using Windows XP (or above) and Windows Media Player 10 (or above) to be able to access seven-day TV catch-up over the internet."

If these proposals from the BBC's On Demand, Public Value Test report  (pdf download), concern you; then please take a few minutes to respond to the online consultation here (especially Q5) about the On Demand service, and the proposed BBC iPlayer. (Wonder where they got the i from?

The document also raises issues of ownership and accountability. These were clearly highlighted by Sam Nelson, Computer Science, Stirling University and he has been kind enough to allow me to quote from his posts to a JISC newsgroup:

"If there isn't an open standard good enough yet, the BBC should put the whole thing off until there is.  Any on-demand content they produce now needs to be entirely accessible in several decades' time using methods we haven't even thought of yet. 

"it's barely a generation since it was OK to wipe and reuse master tapes of programmes after broadcast.  What will we fail to foresee this time?  Are we going to make that sort of mistake again?  This stuff is part of who we all are, whether we like any of it or not, and we shouldn't be handing over any element of control over it to any commercial concern."

There is a glimmer of  hope on the horizon, in the  PVT report, the Market Impact Assessment by Ofcom states:

"A platform-agnostic approach (i.e. not reliant exclusively on Microsoft’s DRM solution) would lessen the adverse impact of the proposals on the market for media player and DRM software and would increase the consumer benefit.

and also:

"We propose to require the BBC Executive to adopt a platform-agnostic approach to rights management within a reasonable timeframe. The MIA notes an expectation that the BBC Executive plans to develop a Real Player alternative in the near future. Our understanding is that the BBC Executive aspires to offer an alternative DRM framework, which would enable Apple and Linux users to access the service, but has yet to identify a satisfactory solution. In either case, we will expect this to have been addressed within 24 months.

Whilst the above is to be welcomed, the reliance on DRM is of great concern, as is the proposal of the Executive to develop an alternative based on the media player from hell.

The BBC is one of our greatest national assets and is of world significance.  Recently it has made great strides in the provision of digital assets, such as the pilot of the Creative Archive. It is vital that this status is not undermined by those who have no real interest in our cultural archives and promote restrictive digital practices. After all it's us wot pays the licence, guv.